Transition from Static to Dynamic Images in Wallace Stevens’ poems :: Biography Biographies Essays

Transition from Static to Dynamic Images in Wallace Stevens poemsDescription restores vitality to the plain visual object (Altieri, 250). Take for example when Horatio, after having seen the soupcon the low act of Hamlet, notices the beginning of the new day But, look, the morn in russet mantle clad, walks oer the dew of yon high eastward hill. (Shakespeare, 347). He doesnt say Suns coming up and we do not read Shakespeare in hopes that he would. Instead we are given a rendering of the sun and its movement. This two part description is vital to the beginning of the entire play, and closes the scene succinctly. It provides first a visual stick out for the reviewer or listener to imagine, and then gives motion, in this case to indicate that the play has been set into motion by something outside the control of the characters. Transition from a silent image to that of a dynamic one gives vitality to several of Wallace Stevens poems, furthering their motion and directing their impression. Before addressing any of Stevens poems, it must be made clear that this controversy is narrowly focusing itself on the visual images within several of Stevens poems. To fully examine the sidelines and tangents of a single poem would be impossible, as the poems themselves grow with discovered philosophies, and apostrophize to innumerable viewpoints and interpretations. Furthermore, because the word image can have a multiplicity of meanings and derivatives, depending on the school of thought the reader has absorbed, I will drive the definition of image, within this paper, to the stoic To describe especially to describe as to call up a mental picture of (Morris, 657). In Study of ii Pears (Stevens 180) we start 13 sentences within a 24 line poem, and each line composed of only 4 words, on average, per line. It would seems odd for such of a sudden sentences to be so descriptive. However, A catalogue of vivid effects would pall pretty quickl y, and Stevens sensuous particulars do not pall. He keeps them simple, often short, and sometimes achieves a queer sense of presence (Cook 154). This presence builds throughout the poem. It begins with the scientific terms for the two pears in question, Opusculum paedagogum and states that they are pears and resemble nothing.Transition from Static to Dynamic Images in Wallace Stevens poems Biography Biographies EssaysTransition from Static to Dynamic Images in Wallace Stevens poemsDescription restores vitality to the plain visual object (Altieri, 250). Take for example when Horatio, after having seen the ghost the first act of Hamlet, notices the beginning of the new day But, look, the morn in russet mantle clad, walks oer the dew of yon high eastward hill. (Shakespeare, 347). He doesnt say Suns coming up and we do not read Shakespeare in hopes that he would. Instead we are given a description of the sun and its movement. This two part description is vital to the beginn ing of the entire play, and closes the scene succinctly. It provides first a visual image for the reader or listener to imagine, and then gives motion, in this case to indicate that the play has been set into motion by something outside the control of the characters. Transition from a static image to that of a dynamic one gives vitality to several of Wallace Stevens poems, furthering their motion and directing their impression. Before addressing any of Stevens poems, it must be made clear that this argument is narrowly focusing itself on the visual images within several of Stevens poems. To fully examine the sidelines and tangents of a single poem would be impossible, as the poems themselves grow with discovered philosophies, and appeal to innumerable viewpoints and interpretations. Furthermore, because the word image can have a multiplicity of meanings and derivatives, depending on the school of thought the reader has absorbed, I will constrain the definition of imag e, within this paper, to the stoic To describe especially to describe as to call up a mental picture of (Morris, 657). In Study of Two Pears (Stevens 180) we find 13 sentences within a 24 line poem, and each line composed of only 4 words, on average, per line. It would seems odd for such short sentences to be so descriptive. However, A catalogue of vivid effects would pall pretty quickly, and Stevens sensuous particulars do not pall. He keeps them simple, often short, and sometimes achieves a remarkable sense of presence (Cook 154). This presence builds throughout the poem. It begins with the scientific terms for the two pears in question, Opusculum paedagogum and states that they are pears and resemble nothing.