Six Significant Landscapes
"Six Significant Landscapes" is a poem from Wallace Stevens's first book of poetry, Harmonium. It was first published in 1916, so it is in the public domain.[1]
I
An old man sits
In the shadow of a pine tree
In China.
He sees larkspur,
Blue and white,
At the edge of the shadow,
Move in the wind.
His beard moves in the wind.
The pine tree moves in the wind.
Thus water flows
Over weeds.
II
The night is of the colour
Of a woman's arm:
Night, the female,
Obscure,
Fragrant and supple,
Conceals herself.
A pool shines,
Like a bracelet
Shaken in a dance.
III
I measure myself
Against a tall tree.
I find that I am much taller,
For I reach right up to the sun,
With my eye;
And I reach to the shore of the sea
With my ear.
Nevertheless, I dislike
The way ants crawl
In and out of my shadow.
IV
When my dream was near the moon,
The white folds of its gown
Filled with yellow light.
The soles of its feet
Grew red.
Its hair filled
With certain blue crystallizations
From stars,
Not far off.
V
Not all the knives of the lamp-posts,
Nor the chisels of the long streets,
Nor the mallets of the domes
And high towers,
Can carve
What one star can carve,
Shining through the grape-leaves.
VI
Rationalists, wearing square hats,
Think, in square rooms,
Looking at the floor,
Looking at the ceiling.
They confine themselves
To right-angled triangles.
If they tried rhomboids,
Cones, waving lines, ellipses --
As, for example, the ellipse of the half-moon --
Rationalists would wear sombreros.
Each of these six landscapes of the imagination is a poem in its own right, each conveying an image, simply sculpted and precise, contributing to a pastiche effect. The first displays the influence of haiku and orientalism on Stevens, the second evokes the romantic mystery of night, the third is a wry comment about the duality of the human condition, the dream in the fourth bears comparison to Klee and Chagall, the fifth acknowledges the subtlety of nature, and the sixth associates this subtlety with a reality that evades a rationalist point of view. The sixth can also be understood as Stevens's gentle contribution to the ancient quarrel between philosophical reason and poetic imagination, recommending that philosophers trade in their square hats for sombreros. Buttel appreciates in the fourth landscape a hallucinatory effect such that "space shrinks, the imagination expands, and the illogical perspective surprises the reader into a recognition of heavenly grandeur".[2] Apropos of the first landscape, he cites Earl Miner in support of the idea that "the objectivity, indirectness, and condensation of the haiku technique seem to have had a more beneficial and lasting effect on his style than the merely ornamental details of orientalism".[3] Buttel reads the fifth landscape as a reaction against "Romantic softness" in favor of "hard clarity", in the spirit of Imagism. The poem's central symbol is not something beyond the poem or something merely intimated by it, but is rather in the star, in the manner that Ezra Pound and the Symbolists recommended.[4]
Notes
References
- Buttel, Robert. Wallace Stevens: The Making of Harmonium. Princeton University Press, 1967.
- v
- t
- e
- "Earthy Anecdote"
- "Invective Against Swans"
- "The Paltry Nude Starts on a Spring Voyage"
- "The Plot Against the Giant"
- "Infanta Marina"
- "Domination of Black"
- "The Snow Man"
- "The Ordinary Women"
- "The Load Of Sugar-Cane"
- "Le Monocle de Mon Oncle"
- "Nuances of a Theme by Williams"
- "Metaphors of a Magnifico"
- "Ploughing on Sunday"
- "Cy Est Pourtraicte, Madame Ste Ursule, et Les Unze Mille Vierges"
- "Hibiscus on the Sleeping Shores"
- "Fabliau of Florida"
- "Doctor of Geneva"
- "Homunculus et la Belle Etoile"
- "The Comedian as the Letter C"
- "From the Misery of Don Joost"
- "O Florida, Venereal Soil"
- "Last Looks at the Lilacs"
- "The Worms at Heaven's Gate"
- "The Jack-Rabbit"
- "Valley Candle"
- "Anecdote of Men by the Thousand"
- "The Apostrophe to Vincentine"
- "Floral Decorations for Bananas"
- "Anecdote of Canna"
- "On the Manner of Addressing Clouds"
- "Of Heaven Considered as a Tomb "
- "Of the Surface of Things"
- "Anecdote of the Prince of Peacocks"
- "A High-Toned Old Christian Woman"
- "The Place of the Solitaires"
- "The Weeping Burgher"
- "The Curtains in the House of the Metaphysician"
- "Banal Sojourn"
- "Depression Before Spring"
- "The Emperor of Ice-Cream"
- "The Cuban Doctor"
- "Tea at the Palaz of Hoon"
- "Disillusionment of Ten O'Clock"
- "Sunday Morning"
- "The Virgin Carrying a Lantern"
- "Stars at Tallapoosa"
- "Explanation"
- "Six Significant Landscapes"
- "Bantam in Pine-Woods"
- "Anecdote of the Jar"
- "Palace of the Babies"
- "Frogs Eat Butterflies. Snakes Eat Frogs. Hogs Eat Snakes. Men Eat Hogs"
- "Jasmine's Beautiful Thoughts Underneath The Willow"
- "Cortège for Rosenbloom"
- "Tattoo"
- "The Bird with the Coppery, Keen Claws"
- "Life Is Motion"
- "The Wind Shifts"
- "Colloquy with a Polish Aunt"
- "Gubbinal"
- "Two Figures in Dense Violet Night"
- "Theory"
- "To the One of Fictive Music"
- "Hymn from a Watermelon Pavilion"
- "Peter Quince at the Clavier"
- "Thirteen Ways of Looking at a Blackbird"
- "Nomad Exquisite"
- "The Man Whose Pharynx Was Bad"
- "The Death of a Soldier"
- "Negation"
- "The Surprises of the Superhuman"
- "Sea Surface Full of Clouds"
- "The Revolutionists Stop for Orangeade"
- "Lunar Paraphrase"
- "Anatomy of Monotony"
- "The Public Square"
- "Indian River"
- "Tea"