Wallace Stevens and Poetic Theory

Conceiving the Supreme Fiction

B J Leggett

• Publisher: The University of North Carolina Press
• Year: 2017
• ISBN:
  9781469622873
• Topic: Literature
• Subtopic: Poetry
• Index: Literature

Leggett traces the effect of several important theoretical works on the poetry and prose of Stevens during a period in which he was formulating an aesthetic between 1942 and 1954. The author offers new readings of a number of poems and passages and clarifies certain controversial conceptions developed by Stevens, such as the supreme fiction, the relation of the new poet to tradition, and the psychologies of creativity. Originally published in 1987. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

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INTRODUCTION

Stevens and Poetic Theory

The assumption that the poems of Wallace Stevens conceal a viable theory of poetry or of the poetic imagination has guided Stevens criticism since Hi Simons first set out the aesthetic of “The Comedian as the Letter C” in 1940. This continuing project of converting the poetry to poetics or metapoetry is perhaps the inevitable consequence of attending to a poet who labored so earnestly to establish the premise that “poetry is the subject of the poem” (CP, 176). A number of years ago Northrop Frye stated the case most directly: “Wallace Stevens was a poet for whom the theory and the practice of poetry were inseparable. His poetic vision is informed by a metaphysic; his metaphysic is informed by a theory of knowledge; his theory of knowledge is informed by a poetic vision.”¹ Given a poet who is of particular interest to the critical theorist because, in Frye’s words, “he sees so clearly that the only ideas the poet can deal with are those directly involved with, and implied by, his own writing,”² it is not surprising that commentary on the body of Stevens’s poetry has been devoted so extensively to a description of Stevens’s theory of the poetic imagination. One version of this project goes so far as to suggest that Stevens’s verse constitutes one Grand Poem, the subject of which is poetry.³

The issues raised by the theory (or, as the studies have multiplied, theories) seen as latent in the verse have now become the commonplaces of Stevens criticism: the subject-object duality, with its consequent emphasis on various conceptions of imagination and reality and their interrelations; the death of the gods, which leads on the one hand to the impoverishment of life and the estrangement of self and on the other to the possibility of a more sufficient myth; the supreme fiction and attendant concepts such as major man, the hero, the abstract, decreation, the first idea, resemblance, and metamorphosis; and, underlying all, a notion of the external world (and ultimately mind) as flux, change, fortuity, an assumption that to some extent renders all theory provisional, tentative. Although the list could be extended, my intent here is not to describe the theories that have been extracted from the poems but to raise questions about the nature of the enterprise itself.

One of Stevens’s most thoughtful readers, Helen Vendler, has recently urged a shift in the direction of commentary away from questions of epistemology and poetic theory. She argues that Stevens is a genuinely misunderstood poet; he is rarely seen as the passionate writer, the poet of ecstatic or despairing moments that he truly is.⁴ His reputation as bloodless, dry, and abstract Vendler traces to readers’ continued engagement with Stevens as the poet of epistemological questions: “It is popularly believed that Stevens is a poet preoccupied by the relations between the imagination and reality, and there is good reason for the popular belief, since Stevens so often phrased his own preoccupation in those unrevealing words. The formula, properly understood, is not untrue; but we must ask what causes the imagination to be so painfully at odds with reality. The cause setting the two at odds is usually, in Stevens’ case, passionate feeling, and not merely epistemological query.”⁵ Vendler reads Stevens as “our great poet of the inexhaustible and exhausting cycle of desire and despair.” If he is not recognized as such, it is because the usual, and mistaken, habit of commentators is “to take his metaphysical or epistemological prolegomena as the real subject of the poem, when in fact they are the late plural of the subject, whose early candor of desire reposes further down the page.”⁶

Vendler’s assumption that Stevens’s ostensible subject is not always the one that most engages his feeling must, I think, be granted by the attentive reader of, say, Notes toward a Supreme Fiction or any number of poems that address themselves to theoretical questions. Her emphasis on Stevens as the poet of desire and despair—set against Stevens the theorist in verse, the cold abstractionist—should also be welcome to anyone who has surveyed the body of commentary on the poems. This attempt to redirect the line of critical inquiry is one sign that earlier commentary has been somewhat single-minded in its project of isolating Stevens as the theorist of the poetic imagination. Vendler’s correction of the current formula for reading Stevens is instructive, and perhaps overdue, but in its attempt to uncover the Stevens of desire and despair it quite understandably minimizes the Stevens of the ostensible subject of the poem. Vendler would no doubt agree that, whatever its “real” subject, Notes toward a Supreme Fiction is also a poem about writing poetry and, what is more, that we cannot always locate the line of separation between the theorist and the man of feeling. In its ardent pursuit of another, more human Stevens, Vendler’s study also leaves the impression that the commentary oh Stevens as theorist and epistemologist has essentially completed its task so that we are now in command of the theoretical context of the poems. “Though the conceptual bases of Stevens’ poems have been ably set out, and Stevens’ intellectual and poetic sources are gradually being enumerated,” she remarks, “the task of conveying the poems as something other than a collection of ideas still remains incomplete.”⁷

Vendler’s generosity to the opposing camp (she can, of course, afford to be generous since she has reduced its significance) suggests that Stevens’s ideas and their sources are now being set out with some certainty. I would argue, to the contrary, that commentary has been unable to provide an adequate description of Stevens’s poetic theory and that we know very little about the intellectual sources for his conception of poetry. The commentary on Stevens’s poetics has given us, in the main, not information on the sources or background of his ideas but readings of poems, readings that have been subsequently challenged by equally rigorous readings, so that we are now accustomed to a body of criticism in which every significant issue is open to question. Stevens is the poet of the imagination; he is the poet of reality. He is the doctrinal poet of ideas; he is the poet of words, less concerned with doctrine than with feeling. He is a Symbolist; he stands opposed to the Symbolist and post-Symbolist poets.⁸ He belongs to an idealist tradition; he belongs to a naturalistic tradition.⁹ He has shown no major change in growth, so that his late poems partake of the same sensibility and the same intellectual climate as his early verse; he exhibits a great change in sensibility and a major change in growth from the early to the late poems.¹⁰ He works through a dialectical process from thesis to antithesis to synthesis; his poetry is not dialectical in any Hegelian sense.¹¹ His private symbolism is consistent throughout his poetry; his symbols such as sun and moon, blue and green, do not always mean the same thing.¹² His poet-hero is not a human individual but an abstraction who does not exist in our world; his hero is always the human individual, and he may be any man who exists among his fellows in a mythless age.¹³ So it goes, through a string of oppositions that could be lengthened to a tedious survey of more than fifty years of critical controversy.

These contradictory readings are clearly more than quibbles about interpretation or emphasis; they represent differences that extend to the central issue of Stevens’s conception of poetry. And such flat contradictions cannot be resolved by any fiction of interpretative progress, where early mistaken readings are corrected by later ones. Since our understanding of Stevens’s theory of poetry is derived primarily from readings of poems, there has been little advance in our understanding, merely a multiplication of interpretations distinguished only by their methodologies: formalist readings have been succeeded by phenomenologist readings, which in turn have been succeeded by deconstructionist readings. A look at two of these attempts to describe Stevens’s conception of the poetic imagination—and I choose studies that were published in the same year—will perhaps be sufficient to suggest how far we are from an adequate account of Stevens’s poetics. Alan Perlis’s Wallace Stevens: A World of Transforming Shapes and Helen Regueiro’s The Limits of Imagination: Wordsworth, Yeats, and Stevens both propose to settle the issue of Stevens’s view of poetry by defining his conception of the reality-imagination complex, which is regarded by both critics as the central issue of his verse. It is typical of Stevens criticism as a whole that the two, basing their findings both on previous criticism and on their own careful analyses of the body of Stevens’s poetry, reach opposite conclusions, the effect of each being to negate the other.

Perlis’s study attributes two important assumptions to Stevens’s conception of the imagination, one having to do with reality’s imperviousness to the imagination, the other with the sufficiency of the alienated imagination. Because, in Perlis’s view, Stevens assumes that the “thing itself” is forever beyond the poetic imagination, the poet makes no pretense of faithfully describing objects as they exist in reality, and his imaginary constructs neither contain nor define the essence of objects themselves.¹⁴ The relationships that Stevens’s poetry establishes do not therefore exist in the world external to the imagination but are purely products of the mind.¹⁵ Moreover, the unbridgeable separation of imagination and reality justifies the poet’s impulse to transform the world willfully to the shape of his imaginary constructs.¹⁶ The acknowledgment that the real world is beyond reach is an occasion, finally, for celebration, which derives from the recognition that “if nothing is fixed, futility can be transformed into a realization of the world’s infinite possibility to inspire poetic expression.”¹⁷

Perlis’s Stevens is a poet resigned to sacrificing all else for the imagination. Helen Regueiro’s Stevens, on the other hand, is able to attain the real only through the sacrifice, the annihilation, of the imagination. Stevens, in Regueiro’s reading, begins with a sense of the meaninglessness of the natural world unless ordered or transformed by the imagination. Yet even in his poems of order he is aware of the inability of the imagination to approximate the “thingness” of reality, since the temptation of the imagination is constantly to transform the world, to create an intentional world separate from the real. This recognition is itself the beginning of Stevens’s move toward an affirmation of the particular truth, the momentary experience, and his rejection of the total reconstruction of reality provided by the imagination.¹⁸ In the end, Stevens denies the imagination its ordering powers in an attempt to reach the chaotic particulars of the natural world. He finally sees that reality can be experienced only by limiting the imagination, by turning its transforming power not against reality (as Perlis would have it) but against itself. Whereas for Perlis the imagination in Stevens becomes an end in itself, for Regueiro “it ceases being an end and becomes an instrument of experience, reaching the ’being’ of the object in a transforming moment of awareness.”¹⁹ That is, by limiting itself, by denying the validity of its re-creation of the world, the poem becomes not a description of reality but a “vehicle of experience.”²⁰ Reality, which was feared to have been lost to poetry, has been gained, and the imagination, which was thought to rule supreme, has silenced itself. In short, Regueiro’s Stevens has shifted the imagination from its grandiose work as creator and transformer to the more modest task of becoming an instrument for the experience of being.

These two studies, taken together, suggest the dilemma faced by the reader in search of a theory underlying the verse, the recognition that the most careful scrutiny of the poems—Perlis and Regueiro are accomplished and sophisticated readers—yields results that may be contradicted at every turn. We are given at the same moment two poets who bear only the slightest resemblance. Perlis gives us the exponent of the supremacy of the imagination willfully at play in a world of resemblance and metaphor, fatally but happily sundered from the natural world. Regueiro uncovers a Stevens who rejects the metaphorical world of resemblance and who surrenders the imagination itself so that he may experience the chaotic natural world the imagination denies him. These, of course, are roughly the poles between which commentary on Stevens has been located. While Perlis and Regueiro articulate extreme positions, almost all other approaches to Stevens’s poetics appear in the space between these two “unrevealing words” (as Vendler labels them), imagination and reality. This is not to suggest, however, that these are words we can easily evade, and if we wish to meet Stevens on his own ground, we must return to them repeatedly.

It is the nature of both practical and theoretical criticism to be contentious, and one of the most pervasive conventions of the critical essay is the attribution of wrong-headedness to one’s colleagues. This is a normal condition which obviously accounts in some measure for the lack of consensus in the commentary on Stevens, no different from the state of affairs one encounters in the study of any major artist. Yet the case of Stevens appears variant in two important ways. First, as Vendler has suggested, the commentary on Stevens has been largely devoted not simply to the reading of poems as poems, but to the reading of Stevens’s verse as a theory of poetry or an epistemology assumed to be held by the poet himself. The second and more crucial complication resides in certain generally acknowledged qualities of Stevens’s poetry that appear to impede its translation into doctrine or theory. That is, the nature of Stevens’s verse seems to guarantee that any formulation of a systematic or comprehensive theory derived from the verse alone will prove to be inadequate—susceptible to contradiction by elements of the poetry itself or by other equally well-grounded formulations. Why does this one area of the poetry—its status as metapoetry or self-conscious theory—resist definition? And why should Stevens’s poetry present a special case?

In attempting to account for his dissatisfaction with the readings (including his own) of one of the prime sources of Stevens’s poetic theory, Notes toward a Supreme Fiction, Harold Bloom formulates one answer. He argues that critics are so frequently wrong about Stevens’s poetics because “Stevens had the uncanniness and the persistence to get about a generation ahead of his own time, and he is still quite a few touches and traces ahead of ours.”²¹ This is to suggest that, as theory, Stevens’s poetry has so far outdistanced its commentators as to render ineffectual their efforts to describe it. In Bloom’s words, Stevens’s “major phase, from 1942 to his death in 1955, gave us a canon of poems themselves more advanced as interpretation than our criticism has gotten to be.” It thus becomes the reader’s task to find a critical procedure sophisticated enough to encompass the “subtle evasions” and “preternatural rhetoricity” of a poetry acutely aware “of its own status as text.”²² Bloom’s emphasis on the poetry as interpretation and on its awareness of its own status as text touches on one element of the difficulty encountered in extracting Stevens’s theory from his verse. While Stevens’s self-conscious pursuit of the same goal sought by his critics might be thought to facilitate the task of describing his conception of the poetic imagination, the result seems to be the opposite. The poet has anticipated many of the reader’s questions, but he has posed them in an obscure manner and answered them in unparaphrasable figures. A poet less self-conscious would be easier to pin down, and a poet less obsessed with the many sides of the question would not cover himself with quite so many evasions, qualifications, and paradoxes.

Helen Vendler, to whom we return as the critic who has written most perceptively on the rhetoric of Stevens’s poems, has described in some detail the means by which the poet evades direct statement, qualifies assertions, introduces uncertainties.²³ She demonstrates Stevens’s tendency to leave his poetic statement indeterminate by phrasing it as a hypothesis, a question, a future event, a tenseless event, or an imperative.²⁴ She notes the frequency with which he avoids finality by recourse to the mitigating seems, as well as the frequency with which he resorts to the modal auxiliaries may, might...

Table of contents

• Cover Page
• Title Page
• Copyright Page
• Dedication
• Contents
• Acknowledgments
• Halftitle Page
• 1 Introduction
• 2 Why it Must Be Abstract
• 3 Why it must change
• 4 The Psychology of Pleasure
• 5 Resisting the intelligence
• 6 After the supreme fiction
• 7 After the supreme Fiction
• Notes
• Bibliography
• Index