author: Helen Hennessy Vendler
Summary
In her article, Helen Vendler concentrates on Wallace Stevens´s late work, especially on two of his poetry collections: The Rock and Collected Poems. She also, to unadulterated the thinking on Stevens, mentions some late, uncollected poems as well as two poems preceding The Rock. She assumes that there are three major premises in Stevens´s late work. First: end is a biological horror. Second: Morality confers a compensatory respect of life. And near importantly third: Age is a paralyzed stasis of body and health. Then she analyzes the connection between Stevens´s poetical structures and content of his poems. Stevens´s late works seem to be nearly obsessed with experience of time and remainder. His most signal and distinctive stylistic analogies to one of his favorite topics are repetitive forms which recall strongly the stasis of the end described in Vendler´s premises to Steven´s work. But even in most static poems like „The Region November there always is essential knowledge of „The Plain Sense of Things. Quiet self-explanatory surname of another static poem by the way. „The absence of the vision has itself to be imagined, as the poem says.
The other premise, premise of death being a biological horror, is most obvious in Stevens´s early elegies such as „World Without Peculiarity, or „Burgher of Petty Death. In these poems Stevens mourns for his dead parents to realize complete unimportance of particular death to the universe. This contrasts with utter grief that the devasteted password experiences. The biological horror continues in images of nature as a sexually ambiguous and cannibalistic mother in „Madame La Fleurie. The third structure of reality is described at put up in the analysis of Stevens´s title poem The Rock, where Stevens calls on life and memory of life, to be the natural counter-power to Stevens´s vast, agedness and entropic universe.If you want to get a full essay, order it on our website: Ordercustompaper.com
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