The Idea of Order at Key West by Wallace Stevens
She sang beyond the genius of the sea. The water never formed to mind or voice, Like a body wholly body, fluttering Its empty sleeves; and yet its mimic motion Made constant cry, caused constantly a cry, That was not ours although we understood, Inhuman, of the veritable ocean. The sea was not a mask. No more was she. The song and water were not medleyed sound Even if what she sang was what she heard. Since what she sang was uttered word by word. It may be that in all her phrases stirred The grinding water and the gasping wind; But it was she and not the sea we heard. For she was the maker of the song she sang. The ever-hooded, tragic-gestured sea Was merely a place by which she walked to sing. Whose spirit is this? we said, because we knew It was the spirit that we sought and knew That we should ask this often as she sang. If it was only the dark voice of the sea That rose, or even colored by many waves; If it was only the outer voice of sky And cloud, of the sunken coral water-walled, However clear, it would have been deep air, The heaving speech of air, a summer sound Repeated in a summer without end And sound alone. But it was more than that, More even than her voice, and ours, among The meaningless plungings of water and the wind, Theatrical distances, bronze shadows heaped On high horizons, mountainous atmospheres Of sky and sea. It was her voice that made The sky acutest at its vanishing. She measured to the hour its solitude. She was the single artificer of the world In which she sang. And when she sang, the sea, Whatever self it had, became the self That was her song, for she was the maker. Then we, As we beheld her striding there alone, Knew that there never was a world for her Except the one she sang and, singing, made. Ramon Fernandez, tell me, if you know, Why, when the singing ended and we turned Toward the town, tell why the glassy lights, The lights in the fishing boats at anchor there, As night descended, tilting in the air, Mastered the night and portioned out the sea, Fixing emblazoned zones and fiery poles, Arranging, deepening, enchanting night. Oh! Blessed rage for order, pale Ramon, The maker's rage to order words of the sea, Words of the fragrant portals, dimly-starred, And of ourselves and of our origins, In ghostlier demarcations, keener sounds.
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AI OVERVIEW For Wallace Stevens, Hartford as Muse 最高虛構筆記 (這些轉折點代表著一種向「至高虛構」或「最終信仰」的轉變，而這種信仰取代了傳統的宗教信仰。) The Idea of Order at Key West《史蒂文斯在交叉》一書中對這些時刻的分類，以此來定義詩歌危機：選擇之交叉：面對創作天賦的消亡，介於反諷和提喻之間。唯我論之交叉：與愛情的消亡作鬥爭，介於轉喻和誇張之間。認同之交叉：面對徹底的死亡，發生在隱喻與換喻之間。
在《華萊士·史蒂文斯：我們氣候的詩歌》（1977 年）中，哈羅德·布魯姆指出了史蒂文斯詩歌中的關鍵「交叉點」——具體的「負面時刻」或危機，詩人的語言在比喻模式之間跳躍，通常標誌著與死亡、唯我論或創造力喪失的對抗。布魯姆認為，史蒂文斯超越了愛默生和惠特曼等先驅，達到了獨特的「空白」中心。布魯姆對史蒂文斯作品中「交叉」的關鍵解讀：三大交叉：布魯姆在《紐約書評》中詳細闡述了《史蒂文斯在交叉》一書中對這些時刻的分類，以此來定義詩歌危機：選擇之交叉：面對創作天賦的消亡，介於反諷和提喻之間。唯我論之交叉：與愛情的消亡作鬥爭，介於轉喻和誇張之間。認同之交叉：面對徹底的死亡，發生在隱喻與換喻之間。定義：如1977年秋季刊第1卷所述。 1. 摘自華萊士·史蒂文斯協會第3/4期，布魯姆將這些事件定義為“負面時刻”或“轉折點”，並以此作為抒情詩的理論基礎。 「極光」焦點：布魯姆強調《秋日的極光》是這種「冰冷的輝煌」和轉變的關鍵例證。意義：布魯姆認為這些轉折點對於確立史蒂文斯作為20世紀美國詩歌中心人物的地位至關重要，正如普林斯頓大學文獻《龐德/史蒂文斯：誰的時代？ 》中所討論的。至高虛構：這些轉折點代表著一種向「至高虛構」或「最終信仰」的轉變，而這種信仰取代了傳統的宗教信仰。
- The Three Major Crossings: Bloom, as detailed in Stevens at the Crossing, categorizes these moments in The New York Review of Books to define poetic crisis:
- Crossing of Election: Faces the death of the creative gift, situated between irony and synecdoche.
- Crossing of Solipsism: Struggles with the death of love, between metonymy and hyperbole.
- Crossing of Identification: Faces total death, occurring between metaphor and metalepsis.
- Definition: As noted in Fall 1977 Vol. 1 No. 3/4 from The Wallace Stevens Society, Bloom frames these as "negative moments" or "crossings" that act as a theory of lyric poetry.
- The "Aurora" Focus: Bloom highlights "The Auroras of Autumn" as a crucial example of this "frigid brilliance" and change.
- Significance: Bloom views these crossings as essential to positioning Stevens as the central figure of 20th-century American poetry, as discussed in the Princeton University document, Pound/Stevens: Whose Era?.
- The Supreme Fiction: These crossings represent a move towards a "supreme fiction" or a "final belief" that replaces traditional religious faith. [1, 2, 3, 4, 5, 6]
If a primary function of poetry is to expand and enrich the scope of a native language, Stevens has no equal in American English except Walt Whitman.
The Thrilling Mind of Wallace Stevens
How an introverted insurance executive in a three-piece suit created some of the most radiant poetry of the twentieth century.
NYER.CM|由 PETER SCHJELDAHL 上傳
“Be the voice of night and Florida in my ear.
Use dusky words and dusky images.
Darken your speech.
But spoke for you perfectly in my thoughts,
Conceiving words,
And out of their droning sibilants makes
A serenade.”
―Wallace Stevens, The Collected Poems
"The Snow Man" by Wallace Stevens
To regard the frost and the boughs
Of the pine-trees crusted with snow;
To behold the junipers shagged with ice,
The spruces rough in the distant glitter
Of any misery in the sound of the wind,
In the sound of a few leaves,
Full of the same wind
That is blowing in the same bare place
And, nothing himself, beholds
Nothing that is not there and the nothing that is.
The western day through what you called
The loneliest air, not less was I myself.
What were the hymns that buzzed beside my ears?
What was the sea whose tide swept through me there?
And my ears made the blowing hymns they heard.
I was myself the compass of that sea:
Or heard or felt came not but from myself;
And there I found myself more truly and more strange.
Yale University Press 新增了 1 張相片。
The Idea of Order at Key West by Wallace Stevens
She sang beyond the genius of the sea.
The water never formed to mind or voice,
Like a body wholly body, fluttering
Its empty sleeves; and yet its mimic motion
Made constant cry, caused constantly a cry,
That was not ours although we understood,
Inhuman, of the veritable ocean.
The sea was not a mask. No more was she.
The song and water were not medleyed sound
Even if what she sang was what she heard.
Since what she sang was uttered word by word.
It may be that in all her phrases stirred
The grinding water and the gasping wind;
But it was she and not the sea we heard.
For she was the maker of the song she sang.
The ever-hooded, tragic-gestured sea
Was merely a place by which she walked to sing.
Whose spirit is this? we said, because we knew
It was the spirit that we sought and knew
That we should ask this often as she sang.
If it was only the dark voice of the sea
That rose, or even colored by many waves;
If it was only the outer voice of sky
And cloud, of the sunken coral water-walled,
However clear, it would have been deep air,
The heaving speech of air, a summer sound
Repeated in a summer without end And sound alone.
But it was more than that,
More even than her voice, and ours, among
The meaningless plungings of water and the wind,
Theatrical distances, bronze shadows heaped
On high horizons, mountainous atmospheres
Of sky and sea.
It was her voice that made
The sky acutest at its vanishing.
She measured to the hour its solitude.
She was the single artificer of the world In which she sang.
And when she sang, the sea,
Whatever self it had, became the self
That was her song, for she was the maker.
Then we, As we beheld her striding there alone,
Knew that there never was a world for her
Except the one she sang and, singing, made.
Ramon Fernandez, tell me, if you know,
Why, when the singing ended and we turned
Toward the town, tell why the glassy lights,
The lights in the fishing boats at anchor there,
As night descended, tilting in the air,
Mastered the night and portioned out the sea,
Fixing emblazoned zones and fiery poles,
Arranging, deepening, enchanting night.
Oh! Blessed rage for order, pale Ramon,
The maker's rage to order words of the sea,
Words of the fragrant portals, dimly-starred,
And of ourselves and of our origins,
In ghostlier demarcations, keener sounds.
- See more at: http://www.poets.org/viewmedia.php/prmMID/15749#sthash.3IUW7AoS.dpuf
The Idea of Order at Key West- Poets.org - Poetry, Poems, Bios & More 有朗誦
www.poets.org/viewmedia.php/prmMID/15749The Idea of Order at Key West. by Wallace Stevens. She sang beyond the genius of the sea. The water never formed to mind or voice, Like a body wholly body, ...
The Idea of Order at Key West - Wikipedia, the free encyclopedia
雷蒙弗南戴，你知道就告訴我吧，
創造者的狂熱，為了把海的字句，
Wallace Stevens - Wikiquote
[edit] Notes Toward a Supreme Fiction (1942). Begin, ephebe, by perceiving the idea Of this invention, this invented world, The inconceivable idea of the sun.
最高虛構筆記 副標題: 史蒂文斯詩文集
作者: （美）華萊士·史蒂文斯 Wallace Stevens 譯者: 陳東飚 / 張棗出版社: 華東師範大學出版社，出版年: 2009， 頁數: 402
華萊士·史蒂文斯是美國現代最重要的詩人之一。同時也是一位非常重要的詩論家，在這本隨筆評論集中，史蒂文斯反复說明他的關於想像與現實關係的觀點，探索藝術與自然的關係。作者簡介 · · · · · ·
1879年10月2日，華萊士-史蒂文斯(Wallace Stevens)出生於美國賓夕法尼亞州的雷丁市。大學時就讀於哈佛，後在紐約法學院獲法律學位。 1904 年取得律師資格後，在康涅狄格州就業於哈特福德意外事故保險公司，1934 年就任副總裁。
1914年11月，《詩歌》雜誌社的哈里特-門羅將史蒂文斯的四首詩刊登在戰時特輯裡，從此在法律和商務圈之外，史蒂文斯就開始有了另一個身分。他的第一本詩集《風琴》，在1923 年出版，流露出英國浪漫主義和法國符號學派對他的影響，顯示了他對審美哲學的傾向，還有一種完全原始的風格和感覺：異乎尋常、想入非非，浸透著印象主義繪畫的色彩光亮。與其他現代詩人相比，史蒂文斯更為關注想像的轉換能力。他在上下班的途中，或在晚上構思他的詩歌，史蒂文斯繼續過著在辦公室裡寫字台上的日子，生活平靜安祥。
雖然如今被公認為二十世紀主要的美國詩人之一，但史蒂文斯直到他臨死的前一年才得以出版他的《詩集》，此後他才得到了廣泛的承認。他的主要作品有：《秩序觀念》 (1935)，《拿藍色吉它的人》 (1937)，《超小說筆記》 (1942)，論詩歌文論集《必要的天使》。1955年，華萊士-史蒂文斯在美國康涅狄格州首府哈特福德市去世。
史蒂文斯視寫作為純然私人的興趣，因此終生不與文學界人士往還。
在美國現代詩壇裡，以一個保險公司的高級職員，在遠離紐約的文藝界的康州小鎮上居住，卻意外地讓自己的名字寫進了文學史裡。
Notes Towards a Supreme Fiction
To Henry Church
And for what, except for you, do I feel love?
Do I press the extremest book of the wisest man
Close to me, hidden in me day and night?
In the uncertain light of single, certain truth,
Equal in living changingness to the light
In which I meet you, in which we sit at rest,
For a moment in the central of or being,
The vivid transparence that you bring is peace.
[...]
It Must be Abstract
I
Begin, ephebe, by perceiving the idea
Of this invention, this invented world,
The inconceivable idea of the sun.
You must become an ignorant man again
And see the sun again with an ignorant eye
And see it clearly in the idea of it.
Never suppose an inventing mind as source
Of this idea nor for that mind compose
A voluminous master folded in his fire.
How clean the sun when seen in its idea,
Washed in the remotest cleanliness of a heaven
That has expelled us and our images . . .
The death of one god is the death of all.
Let purple Phoebus lie in umber harvest,
Let Phoebus slumber and die in autumn umber,
Phoebus is dead, ephebe. But Phoebus was
A name for something that never could be named.
There was a project for the sun and is.
There is a project for the sun. The sun
Must bear no name, gold flourisher, but be
In the difficulty of what it is to be.
II
It is the celestial ennui of apartments
That sends us back to the first idea, the quick
Of this invention; and yet so poisonous
Are the ravishments of truth, so fatal to
The truth itself, the first idea becomes
A hermit in a poet’s metaphors,
Who comes and goes and comes and goes all day.
May there be an ennui of the first idea?
What else, prodigious scholar, should there be?
The monastic man is an artist. The philosopher
Appoints man’s place in music, say, today.
But the priest desires. The philosopher desires.
And not to have is the beginning of desire.
To have what is not is its ancient cycle.
It is desire at the end of winter, when
It observes the effortless weather turning blue
And sees the myosotis on its bush.
Being virile, it hears the calendar hymn.
It knows that what it has is what is not
And throws it away like a thing of another time
As the morning throws off stale moonlight and shabby sleep.
[...]
III
The poem refreshes life so that we share,
For a moment, the first idea . . . It satisfies
Belief in an immaculate beginning
And sends us, winged by an unconscious will,
To an immaculate end. We move between these points:
From that ever-early candor to its late plural
And the candor of them is the strong exhilaration
Of what we feel from what we think, of thought
Beating in the heart, as if blood newly came,
An elixir, an excitation, a pure power.
The poem, through candor, brings back a power again
That gives a candid kind to everything.
We say: at night an Arabian in my room,
With his damned hoobla-hoobla-hoobla-how,
Inscribes a primitive astronomy
Across the unscrawled fores the future casts
And throws his stars around the floor. By day
The wood-dove used to chant his hoobla-hoo
And still the grossest iridescence of ocean
Howls hoo and rises and howls hoo and falls.
Life’s nonsense pierces us with strange relation.
IV
The first idea was not our own. Adam
In Eden was the father of Descartes
And Eve made air the mirror of herself,
Of her sons and of her daughters. They found themselves
In heaven as in a glass; a second earth;
And in the earth itself they found a green–
The inhabitants of a very varnished green.
But the first idea was not to shape the clouds
In imitation. The clouds preceded us
There was a muddy center before we breathed.
There was a myth before the myth began,
Venerable and articulate and complete.
From this the poem springs: that we live in a place
That is not our own and, much more, not ourselves
And hard it is in spite of blazoned days.
We are the mimics. Clouds are pedagogues.
The air is not a mirror but bare board,
Coulisse bright-dark, tragic chiaroscuro
And comic color of the rose, in which
Abysmal instruments make sounds like pips
Of the sweeping meanings that we add to them.
V
The lion roars at the enraging desert,
Reddens the sand with his red-colored noise,
Defies red emptiness to evolve his match,
Master by foot and jaws and by the mane,
Most supple challenger. The elephant
Breaches the darkness of Ceylon with blares,
The glitter-goes on surfaces of tanks,
Shattering velvetest far-away. The bear,
The ponderous cinnamon, snarls in his mountain
At summer thunder and sleeps through winter snow.
But you, ephebe, look from your attic window,
Your mansard with a rented piano. You lie
In silence upon your bed. You clutch the corner
Of the pillow in your hand. You writhe and press
A bitter utterance from your writhing, dumb,
Yet voluble dumb violence. You look
Across the roofs as sigil and as ward
And in your centre mark them and are cowed . . .
These are the heroic children whom time breeds
Against the first idea – to lash the lion,
Caparison elephants, teach bears to juggle.
VI
Not to be realized because not to
Be seen, not to be loved nor hated because
Not to be realized. Weather by Franz Hals,
Brushed up by brushy winds in brushy clouds,
Wetted by blue, colder for white. Not to
Be spoken to, without a roof, without
First fruits, without the virginal of birds,
The dark-brown ceinture loosened, not relinquished.
Gay is, gay was, the gay forsythia
And yellow, yellow thins the Northern blue.
Without a name and nothing to be desired,
If only imagined but imagined well.
My house has changed a little in the sun.
The fragrance of the magnolias comes close,
False flick, false form, but falseness close to kin.
It must be visible, or invisible,
Invisible or visible or both:
A seeing and unseeing in the eye.
The weather and the giant of the weather,
Say the weather, the mere weather, the mere air:
An abstraction blooded, as a man by thought.
VII
It feels good as it is without the giant,
A thinker of the first idea. Perhaps
The truth depends on a walk around the lake,
A composing as the body tires, a stop
To see hepatica, a stop to watch
A definition growing certain and
A wait within that certainty, a rest
In the swags of pine-trees bordering the lake.
Perhaps there are times of inherent excellence,
As when the cock crows on the left and all
Is well, incalculable balances,
At which a kind of Swiss perfection comes
And a familiar music of the machine
Sets up its Schwärmerei, not balances
That we achieve, but balances that happen,
As a man and woman meet and love forthwith.
Perhaps there are moments of awakening,
Extreme, fortuitous, personal, in which
We more than awaken, sit on the edge of sleep,
As on an elevation, and behold
The academies like structures in a mist.
VIII
Can we compose a castle-fortress-home,
Even with the help of Viollet-le-Duc,
And set the MacCullough there as major man?
The first idea is an imagined thing.
The pensive giant prone in violet space
May be the MacCullough, an expedient,
Logos and logic, crystal hypothesis,
Incipit and a form to speak the word
And every latent double in the word,
Beau linguist. But the MacCullough is MacCullough.
It does not follow that major man is man.
If MacCullough himself lay lounging by the sea,
Drowned in its washes, reading in the sound,
About the thinker of the first idea,
He might take habit, whether from wave or phrase,
Or power of the wave, or deepened speech,
Or a leaner being, moving in on him,
Of greater aptitude or apprehension,
As if the waves at last were never broken,
As if the language suddenly, with ease,
Said things it had laboriously spoken.
IX
The romantic intoning, the declaimed clairvoyance
Are parts of apotheosis, appropriate
And of its nature, the idiom thereof.
They differ from reason’s click-clack, its applied
Enflashings. But apotheosis is not
The origin of the major man. He comes,
Compact in invincible foils, from reason,
Lighted at midnight by the studious eye,
Swaddled in revery, the object of
The hum of thoughts evaded in the mind,
Hidden from other thoughts, he that reposes
On a breast forever precious for that touch,
For whom the good of April falls tenderly,
Falls down, the cock-birds calling at the time.
My dame, sing for this person accurate songs.
He is and may be but oh! he is, he is,
This foundling of the infected past, so bright,
So moving in the manner of his hand.
Yet look not at his colored eyes. Give him
No names, Dismiss him from your images.
The hot of him is purest in the heart.
X
The major abstraction is the idea of man
And major man is its exponent, abler
In the abstract than in his singular,
More fecund as principle than particle,
Happy fecundity, flor-abundant force,
In being more than an exception, part,
Though an heroic part, of the commonal.
The major abstraction is the commonal,
The inanimate, difficult visage. Who is it?
What rabbi, grown furious with human wish,
What chieftain, walking by himself, crying
Most miserable, most victorious,
Does not see these separate figures one by one,
And yet see only one, in his old coat,
His slouching pantaloons, beyond the town,
Looking for what was, where it used to be?
Cloudless the morning. It is he. The man
In that old coat, those sagging pantaloons,
It is of him, ephebe, to make, to confect
The final elegance, not to console
Or sanctify, but plainly to propound.
Notes Toward a Supreme Fiction / Wallace Stevens - alt.arts.poetry ...
Excerpts from "Notes Toward a Supreme Fiction" by Wallace Stevens
[Note to "Notes": Find the complete poem here, but preferably if you consider yourself a poet or a creature of culture, you must purchase a copy of the whole harmonium.]
Do I press the extremest book of the wisest man,
Close to me, hidden in day and night?
In the uncertain light of single, certain truth,
Equal in living changingness to the light
In which I meet you, in which we sit at rest,
For a moment in the central of our being....
It Must Be Abstract
I
Begin, ephebe, by perceiving the idea
Of this invention, this invented world,
The inconceivable idea of the sun.
You must become an ignorant man again
And see the sun again with an ignorant eye
And see it clearly in the idea of it....
II
But the priest desires. The philosopher desires.
And not to have is the beginning of desire.
To have what is not is its ancient cycle....
III
The poem refreshes so that we share,
For a moment, the first idea... It satisfies
Belief in an immaculate beginning
And sends us, winged by an unconscious will,
To an immaculate end....
Beating in the heart, as if blood newly came,
An elixir, an excitation, a pure power.
The power, through candor, brings back a power again....
Life's nonsense pierces us with strange relation....
IV
We are the mimics....
Abysmal instruments make sounds like pips
Of the sweeping meanings that we add to them.
V
These are the heroic children whom time breeds
Against the first idea--to lash the lion,
Caparison elephants, teach bears to juggle.
VI
Not to be realized because not to
Be seen...
Without a name and nothing to be desired
If only imagined but imagined well....
It must be visible or invisible
Invisible or visible or both:
A seeing and unseeing in the eye....
An abstraction blooded, as a man by thought.
VII
not balances
That we achieve but balances that happen....
Perhaps there are moments of awakening,
Extreme, fortuitous, personal, in which
We more than awaken....
VIII
reading in the sound,
About the thinker of the first idea,
He might take habit...
moving in on him,
Of greater aptitude and apprehension...
As if the language suddenly, with ease,
Said things it had laboriously spoken.
X
The major abstraction is the idea of man....
What chieftain, walking by himself, crying
Most miserable, most victorious,
Does not see these separate figures, one by one,
And yet see only one...
Looking for what was, where it used to be?
...It is he.
It Must Change
...
It Must Give Pleasure
...
----
to tone, athletic shoe, intoning, burrow into
Footsteps
For Wallace Stevens, Hartford as Muse
By JEFF GORDINIER
Published: February 23, 2012
Multimedia
Related
Travel Guide: Hartford
****
Poetry of Wallace Stevens
Peter Quince at the Clavier
I
Just as my fingers on these keys
Make music, so the self-same sounds
On my spirit make a music, too.
Music is feeling, then, not sound;
And thus it is that what I feel,
Here in this room, desiring you,
Thinking of your blue-shadowed silk,
Is music. It is like the strain
Waked in the elders by Susanna;
Of a green evening, clear and warm,
She bathed in her still garden, while
The red-eyed elders, watching, felt
The basses of their beings throb
In witching chords, and their thin blood
Pulse pizzicati of Hosanna.
II
In the green water, clear and warm,
Susanna lay.
She searched
The touch of springs,
And found
Concealed imaginings.
She sighed,
For so much melody.
Upon the bank, she stood
In the cool
Of spent emotions.
She felt, among the leaves,
The dew
Of old devotions.
She walked upon the grass,
Still quavering.
The winds were like her maids,
On timid feet,
Fetching her woven scarves,
Yet wavering.
A breath upon her hand
Muted the night.
She turned --
A cymbal crashed,
Amid roaring horns.
III
Soon, with a noise like tambourines,
Came her attendant Byzantines.
They wondered why Susanna cried
Against the elders by her side;
And as they whispered, the refrain
Was like a willow swept by rain.
Anon, their lamps' uplifted flame
Revealed Susanna and her shame.
And then, the simpering Byzantines
Fled, with a noise like tambourines.
IV
Beauty is momentary in the mind --
The fitful tracing of a portal;
But in the flesh it is immortal.
The body dies; the body's beauty lives.
So evenings die, in their green going,
A wave, interminably flowing.
So gardens die, their meek breath scenting
The cowl of winter, done repenting.
So maidens die, to the auroral
Celebration of a maiden's choral.
Susanna's music touched the bawdy strings
Of those white elders; but, escaping,
Left only Death's ironic scraping.
Now, in its immortality, it plays
On the clear viol of her memory,
And makes a constant sacrament of praise.
單字
rift, riff, bawdy, risqué, pomology, viol, tambour...
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