The present paper aims to reveal how the poetry and thought of Wallace Stevens are represented in the four essays written in this regard. The first essay by Milton J. Bates involved with the idea of “supreme fiction”, implying that fiction and truth are not separate in nature, and so is God and imagination of the poet. In the second essay, Joseph Carroll asserts that Stevens admitted a “new romanticism” meant a recurrent mode of poetic imagination while romanticism was mostly accounted a historical concept in its traditional sense. Not only did Stevens come to change the concept of romanticism, but also he established a new method in adopting point of view in lyric poetry. As Helen Vendler argues, in order to convey his universal ideas, Stevens used “we”, “he”, or “one” in his works. And finally, a type of “ambivalent attitude” became Wallace Stevens concerning the gender issue while he experienced the social transition in reading the concept of the femininity. Jacqueline Vaught Brogan illustrates that, in order to keep the pervasive trait of his poetry, Stevens reached integration in duality of the masculine and the feminine.
Table of Contents
I. Introduction
II. Discussion
III. Conclusion
Objectives and Topics
This paper aims to provide a comprehensive overview of how the poetry and thought of the American poet Wallace Stevens are represented and interpreted across four critical essays. By examining these scholarly perspectives, the research explores key themes such as the "supreme fiction," the reconfiguration of romanticism, unique lyrical methodologies, and the complex treatment of gender and femininity in Stevens' work.
- The concept of "supreme fiction" and the synthesis of truth and imagination.
- Stevens' adaptation of "new romanticism" versus traditional historical concepts.
- Technical shifts in lyric point of view, specifically the use of impersonal pronouns.
- The development of gendered perspectives and the integration of masculine and feminine duality.
Excerpt from the Book
II. Discussion
Studying the first essay, I would speak of the way Milton J. Bates explains Stevens’ engagement to the notion of ‘supreme fiction’ called “Stevens and the Supreme Fiction.” At the beginning, Bates argues that Steven believes in not only the possibility, but also the inevitability of fiction as something which is made up. Human experiences are interpreted mentally, and man has to rely on mind’s made-up version of reality – either material or spiritual. But not all people have the same consciousness in this regard. There are only few people agree with what Stevens calls as “the nicer knowledge of /Belief, that what it believes in is not true” (48).
Stevens chose supreme fiction as the central theme of his poems in the midway of his career, Bates continues. Firstly used in the poem “A High-Toned Christian Old Woman,” the phrase ‘supreme fiction’, in fact, unified Stevens lesser themes. The significance of the use of supreme fiction for the religious poem represents the fictitious nature of religion. And Stevens, under the influence of George Santayana, marks the mutual quality for both religion and poetry that is the ‘fictitious nature.’ The only difference lies in the fact that religion is a poetry we believe in the term of religion, without awareness and knowing. On the other hand, Santayana maintains that poetry and religion have the same nature, giving direction and meaning to our lives. He points out that the job of poetry is to provide a new mythology for us. Employing idealism and pragmatism as the two schools of thought in Santayana’s philosophy, Stevens attempts defining the supreme fiction in a long poem called “Notes Toward a Supreme Fiction” with the three complementary sentences in the poem: “It Must Be Abstract,” “It must change,” and “It must Give Pleasure” (48-9).
Summary of Chapters
I. Introduction: This chapter provides biographical background on Wallace Stevens and establishes his central thematic focus on the interaction between reality and imagination.
II. Discussion: This section presents an analysis of four scholarly essays that interpret Stevens' work through the lenses of supreme fiction, romanticism, lyrical voice, and gender dynamics.
III. Conclusion: This chapter synthesizes the findings, highlighting how Stevens redefined modern American poetry through his philosophical outlook and inclusive poetic modes.
Keywords
Wallace Stevens, supreme fiction, new romanticism, imagination, lyric poetry, femininity, modern poetry, reality, dialogue form, symbolism, gender, perspective, poetry, philosophy, literary critique.
Frequently Asked Questions
What is the primary focus of this paper?
This paper provides an overview of how the poetry and thought of Wallace Stevens are represented in four specific scholarly essays, focusing on his major thematic concerns and technical innovations.
What are the central themes discussed in the work?
The central themes include the "supreme fiction," the nature of "new romanticism," the evolution of lyrical perspective, and the duality of masculine and feminine principles in Stevens' poetry.
What is the ultimate goal of this research?
The goal is to reveal how these four critical essays contribute to our understanding of Stevens' poetic mode and his ability to combine philosophical, literary, and social concerns.
Which methodology is employed in this paper?
The paper employs a comparative literary analysis, examining four specific secondary sources to synthesize current academic perspectives on Stevens' works.
What does the main body of the text address?
The main body systematically reviews the arguments presented by Milton J. Bates, Joseph Carroll, Helen Vendler, and Jacqueline Vaught Brogan regarding Stevens' evolving poetic identity.
Which keywords best characterize this research?
Key terms include Wallace Stevens, supreme fiction, new romanticism, imagination, lyric poetry, and femininity.
How does Stevens use the concept of "supreme fiction" in his poetry?
According to the discussed essays, Stevens views the "supreme fiction" as a way to unify themes, suggesting that fiction and truth are inseparable, much like religion and poetry.
How did Stevens change the traditional use of the lyric "I"?
Stevens shifted away from using the first-person "I" as the sole lyrical voice, instead employing "we," "he," and "one" to achieve an objective, impersonal view of his subject matter.
What does the author conclude about Stevens' treatment of gender?
The paper concludes that while Stevens initially showed an ambivalent or even reductive attitude toward women, he eventually reached a state of integration, balancing masculine and feminine principles to achieve a more inclusive poetic quality.
Why is "Notes Toward a Supreme Fiction" significant to Stevens' work?
It is highlighted as a critical poem where Stevens defines his philosophy through the three imperatives: "It Must Be Abstract," "It must change," and "It must Give Pleasure."
- Citation du texte
- Amir Hossein Yasini Visti (Auteur), 2014, Wallace Stevens in Critiques. An Overview of Four Essays Written on Poetry and Thought of Wallace Stevens, Munich, GRIN Verlag, https://www.grin.com/document/384243
