Concordance of the Poetry of Wallace Stevens.

Having an unusual profession for an acclaimed poet, Stevens had a day job as an insurance lawyer at the Hartford Accident and Indemnity Company, choosing to write in his spare time.

Nature in Wallace Stevens “Sunday Morning” Essay

“Again Is An Oxymoron,” in The Wallace Stevens Journal, 26, (Spring 2002).

The Snow Man by Wallace Stevens | Poetry Foundation

Edwards entitled which came into Wallace's hands resulted in his suggesting to his friend Bates that they set themselves up as professional collectors of Natural History specimens to supply the needs of institutions and gentlemen naturalists.

Rhymes and Couplets in the Poetry of Wallace Stevens …

By that means I am strongly of opinion that some definite results might be arrived at." And he further alludes to "my favourite subject - the variations, arrangements, distribution, etc., of species."Wallace had read Charles Darwin's book about the Voyage of the Beagle and his admiration for the adventures and the observations of natural phenomena that Darwin wrote about as having occured during the Beagle voyage and also those related in a book by William H.

Referenced in Eeckhout, Wallace Stevens and the Limits of Reading and Writing.

Wallace stevens essays on poverty - Mega Link

Wallace Stevens has high expectations of in the brief excerpt herewith. But the rewards of meeting his expectations are indelible and (fortunately for us) inexhaustible:

Full text of "Wallace Stevens The Necessary Angel …

She is less generous with regard to John Berryman, but no less revealing. In response to new editions of his Selected Poems, The Dream Songs, and Sonnets, all issued to commemorate his centenary, she makes it plain that The Dream Songs alone are his major accomplishment and their Shakespearean triumph is "to perform tragedy and comedy simultaneously." It is hard to argue that we would be reading Berryman today without The Dream Songs. But Vendler shows her own prejudice against any poetry, since George Herbert's, which attempts to express a relationship with God. Referring to the devotional poems that form a part of Love & Fame and Delusions, Etc., his post Dream Song collections, she states that they fall short of "the subtle and fine-grained Herbert." Though this is probably true of any devotional poetry after Herbert, still Vendler rubs it in: "Berryman's life as a poet ends unhappily in bathos and aesthetic uncertainty, awkwardly imitating devotional predecessors at the close just as he had awkwardly imitated predecessor-poets at the beginning." Even Berryman's first great accomplishment as a poet, "Homage to Mistress Bradstreet," she finds to be "stiff' and "willed," an "historical pastiche." These are not uncommon opinions, though I do not think they are shared by genuine lovers of the poet. But Vendler must make it clear that The Dream Songs alone are of value. There is a telling moment when she misquotes one of the greatest of them, number 29. (She also refers to the page numbers of The Dream Songs, rather than their sequential numbers, which is confusing.) Referring to the opening of the poem, "There sat down, once, a thing on Henry's heart / só heavy," she writes, "There sat down once on Henry's heart a thing / só heavy." Leaving out the commas around "once" and inverting the word order is not a small error and apparently not merely a typo, though it would not be the first time a reviewer or critic relied too much on his or her memory. Following shortly after, in her conclusion, she singles out the Dream Song entitled "So Long? Stevens" (number 219) and zeroes in on Henry's sense of her master, Wallace Stevens: " ... something ... something ... not there in his flourishing art." Although Henry, Berryman's persona, ends by suggesting that his own judgment "sticks / in [his] throat" and that Stevens was "better than us; less wide," Berryman has made an error for which he will not be forgiven. Vendler notes that "Berryman knows very well the cost of relinquishing a Stevensian stoicism in favor of the world's broad social comedy ... " He has flouted "Stevensian sublimity." And his punishment? To have his masterpiece The Dream Songs referred to as "flawed" though "infinitely quotable."

Wallace Stevens expresses this through his statements about the woman's actions and thoughts.

Essay about Wallace Stevens - 1120 Words

The Academy of American Poets announced Tuesday that Hass had been given the Wallace Stevens award for "outstanding and proven mastery." The 73-year-old Hass is known for such collections as "Time and Materials" and "The Apple Trees at Olema." Previous winners of the Stevens award include John Ashbery and Adrienne Rich.

The sublime, peaceful scenery impressed Stevens and influenced his view of nature as a true divine beauty.

FREE Wallace Steven's Of Modern Poetry Essay

Something similar happens in her pair of essays about James Merrill, particularly the first, "Ardor and Artifice: Merrill's Mozartian Touch." She makes a distinction between his magnum opus, The Changing Light at Sandover, and his "exquisite body of lyrics." The latter she implies were composed in "most of the lyric forms invented by the Western tradition." While she prefers the lyrics, and at one point observes that Merrill's taste for puns was "shared with Keats," nowhere does she acknowledge Merrill's debt to the Stevens of Harmonium. She concludes with a list of those things which may please a potential reader of Merrill's poetry: heightened language, "wry refraction of contemporary institutions," "poetic invention," "a window into the pangs and pleasures of gay existence," and most importantly "lightness of touch." This was a place where I wondered about her claim that the gorgeous imagery she finds in Ashbery has been rare in contemporary poetry since Stevens. Merrill's imagery is conspicuously gorgeous. All of the things she mentions as attractive qualities of Merrill's poetry, except the reference to "gay existence," are values in Stevens—the Stevens of Harmonium. But that is just the thing. The Stevens Vendler most esteems and employs as her yardstick is the poet of the long philosophical poems, which she writes about in her most famous book, On Extended Wings: Wallace Stevens' Longer Poems. But in Merrill as with Bishop you can hear not only "The Comedian as the Letter C," but all the dancing, gnomic, less than serious, fantastic exotica of Stevens' lyrics, with their own Mozartian lightness.

Wallace Stevens - University of Pennsylvania

Wallace Stevens Essay -- Biography Biographies Essays

One wonders if Berryman's transgression is trying to take on Stevens in a Dream Song or his return to faith in the years before his suicide, which Vendler notes as one of the desperate remedies he sought for his alcoholism and mental illness. The engaging of religious belief, even language that suggests it, is one thing Vendler will not abide in the poets who interest her. The most questionable manifestation of this prejudice is when, in her otherwise splendid meditation on Whitman's four elegies for Lincoln, "Poetry and the Mediation of Value," she insists that in "When Lilacs Last in the Dooryard Bloom'd," Whitman "does not put Lincoln in a Judeo-Christian frame at all." Thus she ignores the "trinity sure to me you bring," a phrase which appears in the first section of the poem and an image that appears again and again, binding the poem together, if not framing it. As for Whitman's vision of the Civil War dead, in section 15 of "Lilacs," though she recognizes that it echoes a scene from Revelation, she claims "the passage is his most blasphemous transvaluation of Christian value." It is hard not to wonder at the vehemence with which Vendler must make this assertion. Whitman was large and included multitudes, but her attitude here is small and excludes much.