The Emperor of Ice-Cream

Welcome, curious minds, to an exploration of one of Wallace Stevens’ most intriguing and thought-provoking poems, “The Emperor of Ice-Cream.” This poem, though brief, is a masterpiece of modern verse, inviting us to look closely at life, death, and the simple, tangible realities that define our existence. Let us begin by reading the poem itself.

by Wallace Stevens

Call the roller of big cigars,
The muscular one, and bid him whip
In kitchen cups concupiscent curds.
Let the wenches dawdle in such dress
As they are used to wear, and let the boys
Bring flowers in last month’s newspapers.
Let be be finale of seem.
The only emperor is the emperor of ice-cream.

Take from the dresser of deal,
Lacking the three glass knobs, that sheet
On which she embroidered fantails once
And spread it so as to cover her face.
If her horny feet protrude, they come
To show how cold she is, and dumb.
Let the lamp affix its beam.
The only emperor is the emperor of ice-cream.

Understanding “The Emperor of Ice-Cream”: A First Look

Wallace Stevens’ “The Emperor of Ice-Cream” is a poem that boldly confronts the stark reality of death by placing it alongside the vibrant, sensory experiences of life. It presents two distinct scenes, seemingly unrelated yet profoundly connected, to explore what truly holds sway in human experience.

The poem’s central idea revolves around the notion that the only true “emperor” or ultimate authority in our lives is the immediate, tangible, and sensory present. It suggests that while death is an undeniable fact, it is the richness of our physical existence and the simple pleasures we savor that truly govern our perceptions and realities. This work challenges readers to embrace the concrete world and its fleeting delights, even in the face of mortality.

Unpacking the Layers: An In-Depth Analysis of “The Emperor of Ice-Cream”

To fully appreciate “The Emperor of Ice-Cream,” a close examination of its structure, imagery, and profound statements is essential. The poem’s power lies in its ability to merge the mundane with the monumental, creating a unique meditation on existence.

The Setting and its Stark Contrast

The poem is structured into two stanzas, each presenting a vivid, contrasting scene. The first stanza bursts with life, warmth, and sensuality, set in a bustling kitchen:

Call the roller of big cigars,
The muscular one, and bid him whip
In kitchen cups concupiscent curds.

This imagery evokes a scene of preparation, indulgence, and robust physicality. The “roller of big cigars” and “muscular one” suggest a figure of earthy power, while “concupiscent curds” is a striking phrase, blending the idea of desire and sensuality with the simple act of making ice-cream. The “wenches” and “boys” further populate this lively, everyday setting, bringing “flowers in last month’s newspapers,” a detail that hints at a casual, unpretentious approach to life and even to traditional rituals.

In stark contrast, the second stanza shifts to a cold, somber bedroom, focusing on a deceased woman:

Take from the dresser of deal,
Lacking the three glass knobs, that sheet
On which she embroidered fantails once
And spread it so as to cover her face.

This scene is devoid of warmth and activity. The “dresser of deal,” a cheap, plain wood, and its missing knobs emphasize poverty or simplicity, stripping away any grandeur from death. The sheet, once a canvas for “embroidered fantails,” now serves as a shroud, covering the face of the dead. The focus on the “horny feet” that “protrude” is a raw, unflinching detail, emphasizing the physical, unadorned reality of death: “they come
To show how cold she is, and dumb.” This line underscores the finality and lack of sensation that death brings.

Sensory Experience and Vivid Imagery

Stevens masterfully employs sensory details to ground the poem in tangible reality. The taste and texture of “sweet” ice-cream, though not explicitly stated in the provided text, are implied by the “concupiscent curds,” suggesting a rich, desirable treat. The visual imagery of the “muscular” man, the “wenches” in their “dress,” and the “flowers in last month’s newspapers” paints a vibrant picture of life’s everyday activities.

In the second stanza, the imagery shifts to the tactile and visual aspects of death. The “dresser of deal,” the “sheet,” and especially the “horny feet” create a stark, almost uncomfortable realism. The “cold” and “dumb” state of the deceased are not abstract concepts but physical sensations, emphasizing the body’s transformation after life. The “lamp” that “affix[es] its beam” serves as a single, unwavering light, illuminating the stark truth of the scene without sentimentality.

Symbolism and its Profound Meanings

The poem is rich with symbolic elements that deepen its meaning:

Ice-cream: This is perhaps the most prominent symbol. It represents fleeting pleasure, the tangible present, and the sensual delights of life. Ice-cream melts quickly, mirroring the transient nature of existence and the briefness of our sensory experiences. Its sweetness is immediate and undeniable.
The Emperor: The “emperor” symbolizes ultimate authority, the true ruler or governing force. By declaring “The only emperor is the emperor of ice-cream,” Stevens suggests that the immediate, physical, and sensory aspects of life are what truly hold power over our perception and reality, not abstract ideals or the fear of death.
The Dead Woman: She represents the physical reality of mortality. Her unadorned state, with “horny feet” and a simple sheet, strips away any romanticized notions of death, presenting it as a cold, final, and purely physical state. Her silence, being “dumb,” signifies the end of communication and consciousness.
The Feast/Gathering: The implied gathering in the first stanza, with “wenches” and “boys,” symbolizes communal life, celebration, and the continuation of human activity despite the presence or knowledge of death.
Flowers in last month’s newspapers: This detail suggests a casual, unceremonious approach to traditional rituals, emphasizing the raw, unadorned reality over formal appearances. It also hints at the ephemeral nature of beauty and news.

Poetic Devices: Sound and Structure

Stevens employs several poetic devices to enhance the poem’s impact and convey its themes:

Repetition: The powerful refrain, “The only emperor is the emperor of ice-cream,” concludes both stanzas. This repetition acts as a rhythmic anchor, reinforcing the central message and giving the poem a declarative, almost philosophical weight. It hammers home the idea that the tangible present is the ultimate reality.
Alliteration and Consonance: These sound devices add musicality and emphasis. Examples include “call the roller of big cigars,” “concupiscent curds,” and “dresser of deal.” The repetition of consonant sounds creates a subtle texture within the lines.
Assonance: The repetition of vowel sounds, such as the short ‘e’ in “let be be finale of seem” or the long ‘e’ in “feet of the dead woman,” contributes to the poem’s sonic richness and flow.
Juxtaposition: This is perhaps the most significant structural device. The poem’s entire meaning hinges on the stark contrast between the vibrant, sensual life of the first stanza and the cold, inert death of the second. This side-by-side presentation forces the reader to confront the relationship between these two fundamental aspects of existence.
Enjambment: Stevens frequently uses enjambment, where lines run on without punctuation, creating a conversational and natural flow. For instance, “bid him whip
In kitchen cups concupiscent curds” encourages a continuous reading, mimicking the unfolding of thought or action.
Free Verse: The poem is written in free verse, meaning it does not adhere to a strict rhyme scheme or meter. This allows Stevens to capture the rhythms of natural speech and thought, giving the poem an immediate and unforced quality.

Exploring the Central Themes

Several profound themes emerge from “The Emperor of Ice-Cream”:

Mortality and the Acceptance of Death: The poem presents death not as a spiritual journey or a tragic event, but as a simple, physical cessation. The dead woman is “cold” and “dumb,” stripped of all pretense. Stevens encourages an acceptance of this physical finality, urging readers to confront death without illusion.
The Primacy of the Present Moment and Sensory Experience: By elevating “ice-cream” to the status of an “emperor,” the poem argues for the supreme importance of immediate, tangible pleasures and experiences. It suggests that what we can taste, touch, see, and feel in the present is more real and powerful than abstract thoughts or future anxieties. This theme resonates with the idea of living fully in the now.
Reality versus Illusion: The line “Let be be finale of seem” is a powerful philosophical statement. It calls for an end to appearances and pretenses, advocating for the embrace of raw reality. In the context of the poem, it means letting the truth of life’s sensuality and death’s finality be the ultimate reality, rather than comforting illusions or traditional rituals.
The Mundane as Profound: Stevens finds profound meaning in everyday objects and actions: making ice-cream, dawdling wenches, a cheap dresser, a simple sheet. The poem elevates these ordinary elements to a level of deep significance, suggesting that the extraordinary can be found in the ordinary.

The Enduring Legacy of “The Emperor of Ice-Cream”

“The Emperor of Ice-Cream” remains a cornerstone of modern poetry, celebrated for its bold simplicity and profound insights. Wallace Stevens masterfully crafts a poem that is both accessible in its imagery and complex in its philosophical implications. It challenges readers to reconsider their perceptions of life and death, urging them to find meaning and authority not in grand narratives or spiritual promises, but in the immediate, vibrant, and sometimes stark, realities of the present moment. This poem continues to resonate, reminding us that the truest “emperor” might just be the sweetness we choose to savor, even as life unfolds towards its inevitable conclusion.