Welcome, esteemed students of literature, to an illuminating exploration of Wallace Stevens’ profound poem, “Of Modern Poetry.” This remarkable work does not merely present a subject; it delves into the very essence of what poetry is, how it has evolved, and what it must strive to be in our ever-changing world. Prepare to uncover the layers of meaning within this pivotal piece, a guide for understanding the soul of modern poetic expression.
The poem of the mind in the act of finding
What will suffice? It has not always had
To find: the scene was set; it repeated what
Was in the script.
Then the theatre was changed
To something else. Its past was a souvenir.It has to be living, to learn the speech of the place.
It has to face the men of the time and to meet
The women of the time. It has to think about war
And it has to find what will suffice. It has
To construct a new stage. It has to be on that stage
And, like an insatiable actor, slowly and
With meditation, speak words that in the ear,
In the delicatest ear of the mind, repeat,
Exactly, that which it wants to hear, at the sound
Of which, an invisible audience listens,
Not to the play, but to itself, expressed
In an emotion as of two people, as of two
Emotions becoming one. The actor is
A metaphysician in the dark, twanging
An instrument, twanging a wiry string that gives
Sounds passing through sudden rightnesses, wholly
Containing the mind, below which it cannot descend,
Beyond which it has no will to rise.
It must
Be the finding of a satisfaction, and may
Be of a man skating, a woman dancing, a woman
Combing. The poem of the act of the mind.
Of Modern Poetry: A Concise Summary
“Of Modern Poetry” by Wallace Stevens is not a poem about a particular event or emotion, but rather a profound meditation on the nature and purpose of poetry itself. Its central idea revolves around the transformation of poetic expression from a traditional, rule-bound art form to a dynamic, living entity deeply engaged with the contemporary world. The poem argues that modern poetry must actively seek out what is meaningful and authentic, rather than merely repeating established conventions.
- The Evolution of Poetry: The poem outlines a shift from a time when poetry followed a predictable “script” to a present where the “theatre was changed.” This signifies a departure from rigid forms and inherited themes.
- Engagement with the Present: Modern poetry, Stevens asserts, must be “living,” attuned to “the speech of the place,” and confront the realities of its era, including societal challenges and even “war.” It must find what “will suffice” for its own time.
- The Poet as Actor and Metaphysician: The poet is likened to an “insatiable actor” who crafts words not for mere entertainment, but to resonate deeply within the “delicatest ear of the mind” of an “invisible audience.” This audience listens not to a superficial “play,” but “to itself,” seeking profound self-recognition. The poet becomes a “metaphysician in the dark,” exploring fundamental truths through sound and insight.
- Finding Satisfaction in the Ordinary: Ultimately, modern poetry finds its “satisfaction” not necessarily in grand, heroic subjects, but in the simple, everyday moments of human experience, such as “a man skating, a woman dancing, a woman / Combing.” This highlights the democratic and accessible nature of its potential subjects.
In essence, “Of Modern Poetry” is a call for poetry to be vital, responsive, and deeply reflective of the human condition in its current manifestation, always seeking new ways to connect with the mind’s deepest desires for understanding and resonance.
An In-Depth Analysis of Of Modern Poetry
Wallace Stevens’ “Of Modern Poetry” stands as a foundational text for understanding the shifts in poetic thought during the 20th century. This analysis will delve into its intricate structure, powerful metaphors, and the philosophical underpinnings that make it a timeless exploration of poetic creation.
The Quest for Sufficiency and the Changing Stage
The poem opens with a pivotal question that immediately establishes its philosophical inquiry:
The poem of the mind in the act of finding
What will suffice?
This is not a simple query about subject matter, but a profound search for what truly satisfies the intellect and spirit in a poetic context. Stevens suggests that this quest for “sufficiency” is a modern predicament. He contrasts this with a past where poetry operated under different assumptions:
It has not always had
To find: the scene was set; it repeated what
Was in the script.
Here, Stevens employs the powerful metaphor of the “theatre” and a “script” to represent traditional poetry. In earlier eras, poetic forms, themes, and even language were often predetermined, offering poets a clear framework. The poet’s role was to perform a pre-written play. However, this era has passed:
Then the theatre was changed
To something else. Its past was a souvenir.
The “theatre” of poetry has undergone a radical transformation. The old “script” is no longer relevant; the past is merely a “souvenir,” a memory or memento, but not a blueprint for the present. This signifies a break from tradition and a demand for innovation in modern poetic expression.
The Imperative of Living and Facing Reality
Modern poetry, Stevens argues, cannot exist in an ivory tower. It must be intimately connected to the world it inhabits:
It has to be living, to learn the speech of the place.
This line emphasizes the necessity for poetry to be vibrant, current, and responsive to its immediate environment. “Learning the speech of the place” means understanding the contemporary language, culture, and concerns. Furthermore, this engagement extends to human experience in its entirety:
It has to face the men of the time and to meet
The women of the time. It has to think about war
Poetry is tasked with confronting the realities of human existence, including its complexities and hardships. “Thinking about war” serves as a potent example of the weighty issues that modern poetry cannot ignore. It must reflect the anxieties, struggles, and triumphs of its era, rather than offering mere escapism. This active engagement is crucial for finding what “will suffice” in a meaningful way.
The Poet as Actor and the Mind’s Audience
Stevens extends the theatre metaphor to describe the poet’s role in crafting this new poetry:
It has
To construct a new stage. It has to be on that stage
And, like an insatiable actor, slowly and
With meditation, speak words that in the ear,
In the delicatest ear of the mind, repeat,
Exactly, that which it wants to hear
The poet is an “insatiable actor,” constantly striving to create and perform on this “new stage.” The words spoken are not for a literal audience in a physical theatre, but for the “delicatest ear of the mind.” This suggests a deeply internal and intellectual engagement. The poem’s purpose is to resonate with the reader’s innermost thoughts and desires, to articulate what the mind “wants to hear” but perhaps cannot yet express.
The concept of the audience is further refined:
at the sound
Of which, an invisible audience listens,
Not to the play, but to itself, expressed
In an emotion as of two people, as of two
Emotions becoming one.
The “invisible audience” is not passive; it is actively listening to itself through the poem. The poem acts as a mirror, reflecting and articulating the reader’s own emotions and thoughts. This creates a profound connection, where the poet’s expression and the reader’s internal experience merge, becoming “one.” This highlights the intensely personal and reflective power of modern poetry.
The Metaphysician in the Dark and Sudden Rightnesses
The poet’s role transcends mere performance; it becomes a philosophical endeavor:
The actor is
A metaphysician in the dark, twanging
An instrument, twanging a wiry string that gives
Sounds passing through sudden rightnesses, wholly
Containing the mind, below which it cannot descend,
Beyond which it has no will to rise.
The “metaphysician in the dark” suggests a poet grappling with fundamental questions of existence, reality, and meaning, often without clear answers. The image of “twanging / An instrument, twanging a wiry string” evokes the delicate, experimental nature of poetic creation. These sounds lead to “sudden rightnesses,” moments of profound insight or clarity that resonate deeply within the mind. These “rightnesses” are so compelling that the mind finds complete satisfaction in them, unable to go deeper or wishing to rise above them. This describes the perfect fusion of form and meaning, where the poem achieves its ultimate purpose.
Finding Satisfaction in Everyday Moments
The poem concludes by democratizing the sources of poetic satisfaction:
It must
Be the finding of a satisfaction, and may
Be of a man skating, a woman dancing, a woman
Combing. The poem of the act of the mind.
After such abstract and philosophical exploration, the poem grounds itself in remarkably ordinary images. “A man skating, a woman dancing, a woman / Combing” are not grand, heroic, or traditionally poetic subjects. Instead, they represent simple, everyday human activities where beauty, meaning, and a sense of “satisfaction” can be found. This reinforces the idea that modern poetry does not need to seek out extraordinary subjects; it can discover profound resonance in the mundane, transforming the ordinary through the “act of the mind.” The final line reiterates the poem’s core thesis: poetry is an active, mental process of discovery and creation.
Literary and Poetic Devices in Of Modern Poetry
Wallace Stevens masterfully employs a range of literary and poetic devices to convey his complex ideas about modern poetry. Understanding these techniques enhances appreciation for the poem’s artistry and its message.
Extended Metaphor
The most prominent device in “Of Modern Poetry” is its sustained use of extended metaphor. The entire poem functions as an elaborate comparison between the evolution of poetry and the changing dynamics of a “theatre.”
- The “theatre” represents the realm of poetic expression.
- The “script” symbolizes traditional forms and conventions.
- The “actor” embodies the poet.
- The “invisible audience” signifies the reader’s internal consciousness.
This metaphor allows Stevens to discuss abstract concepts in concrete, relatable terms, making the transformation of poetry vivid and understandable. For instance, when Stevens writes, “Then the theatre was changed / To something else. Its past was a souvenir,” the metaphor clearly illustrates a radical shift from past poetic practices.
Enjambment
Stevens frequently uses enjambment, the continuation of a sentence or phrase from one line to the next without a pause, to create a sense of natural speech and continuous thought.
The poem of the mind in the act of finding
What will suffice?
Here, the question “What will suffice?” flows directly from the preceding line, emphasizing the ongoing nature of the mind’s search. This technique contributes to the poem’s conversational yet profound tone, allowing ideas to unfold organically and preventing a choppy rhythm.
Rhetorical Question
The poem opens with a powerful rhetorical question:
The poem of the mind in the act of finding
What will suffice?
This question immediately engages the reader, inviting contemplation rather than expecting a direct answer. It sets the central inquiry of the poem, prompting reflection on the very purpose and satisfaction derived from poetry.
Imagery
Stevens employs evocative imagery to create vivid mental pictures and sensory experiences, even when discussing abstract concepts. The poem is rich with visual and auditory details.
- Visual imagery: “the scene was set,” “the theatre was changed,” “a man skating, a woman dancing, a woman / Combing.” These images ground the philosophical discussion in tangible reality.
- Auditory imagery: “speak words that in the ear,” “twanging / An instrument, twanging a wiry string that gives / Sounds passing through sudden rightnesses.” These lines appeal to the sense of hearing, emphasizing the musicality and resonant quality of poetic language.
The concluding images of everyday life are particularly striking, demonstrating how poetry can find beauty and meaning in the ordinary.
Paradox
The concept of an “invisible audience” listening “Not to the play, but to itself” presents a subtle paradox. An audience typically listens to a performance, but here, the act of listening becomes an act of self-reflection. This highlights the unique, internal experience that modern poetry aims to create, where the external words trigger an internal recognition.
Alliteration and Assonance
Stevens uses subtle instances of alliteration (repetition of initial consonant sounds) and assonance (repetition of vowel sounds) to enhance the poem’s musicality and draw attention to key phrases.
- Alliteration: “scene was set,” “slowly and / With meditation, speak words.”
- Assonance: “ear, / In the delicatest ear,” “twanging / An instrument, twanging a wiry string that gives.”
These sonic devices contribute to the poem’s overall aesthetic appeal and reinforce its themes of sound and resonance.
Free Verse
“Of Modern Poetry” is written in free verse, meaning it does not adhere to a strict rhyme scheme or metrical pattern. This choice is highly significant, as it mirrors the poem’s central argument about the liberation of modern poetry from rigid “scripts” and conventions. The absence of traditional constraints allows Stevens to prioritize natural speech rhythms and the organic unfolding of thought, embodying the very freedom he advocates for modern poetic expression.
By carefully examining these literary and poetic devices, readers can gain a deeper understanding of how Wallace Stevens constructs his argument and creates a rich, engaging experience in “Of Modern Poetry.” The poem itself is a masterclass in the very principles it espouses, demonstrating the power of a living, responsive, and deeply reflective poetic art.