Wallace Stevens (1879-1955)

Wallace Stevens (1879-1955) ENGL 3370: Modern American Poetry

Wallace Stevens ENGL 3370: Modern American Poetry

Wallace Stevens: The Hartford Insuance Company ENGL 3370: Modern American Poetry

Wallace Stevens--House on Westerly Terrace ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Each age is a pigeon-hole. (157) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Each age is a pigeon-hole. (157) • Life is an affair of people and not of places. But for me life is an affair of places and that is the trouble. (158) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Each age is a pigeon-hole. (157) • Life is an affair of people and not of places. But for me life is an affair of places and that is the trouble. (158) • After one has abandoned a belief in god, poetry is that essence which takes its place as life's redemption. (158) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Each age is a pigeon-hole. (157) • Life is an affair of people and not of places. But for me life is an affair of places and that is the trouble. (158) • After one has abandoned a belief in god, poetry is that essence which takes its place as life's redemption. (158) • The imagination wishes to be indulged. (159) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Each age is a pigeon-hole. (157) • Life is an affair of people and not of places. But for me life is an affair of places and that is the trouble. (158) • After one has abandoned a belief in god, poetry is that essence which takes its place as life's redemption. (158) • The imagination wishes to be indulged. (159) • Poetry is not personal. (159) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Each age is a pigeon-hole. (157) • Life is an affair of people and not of places. But for me life is an affair of places and that is the trouble. (158) • After one has abandoned a belief in god, poetry is that essence which takes its place as life's redemption. (158) • The imagination wishes to be indulged. (159) • Poetry is not personal. (159) • The real is only the base. But it is the base. (160) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Each age is a pigeon-hole. (157) • Life is an affair of people and not of places. But for me life is an affair of places and that is the trouble. (158) • After one has abandoned a belief in god, poetry is that essence which takes its place as life's redemption. (158) • The imagination wishes to be indulged. (159) • Poetry is not personal. (159) • The real is only the base. But it is the base. (160) • Weather is a sense of nature. Poetry is a sense. (161) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Each age is a pigeon-hole. (157) • Life is an affair of people and not of places. But for me life is an affair of places and that is the trouble. (158) • After one has abandoned a belief in god, poetry is that essence which takes its place as life's redemption. (158) • The imagination wishes to be indulged. (159) • Poetry is not personal. (159) • The real is only the base. But it is the base. (160) • Weather is a sense of nature. Poetry is a sense. (161) • All poetry is experimental poetry. (161) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Each age is a pigeon-hole. (157) • Life is an affair of people and not of places. But for me life is an affair of places and that is the trouble. (158) • After one has abandoned a belief in god, poetry is that essence which takes its place as life's redemption. (158) • The imagination wishes to be indulged. (159) • Poetry is not personal. (159) • The real is only the base. But it is the base. (160) • Weather is a sense of nature. Poetry is a sense. (161) • All poetry is experimental poetry. (161) • It is the belief and not the god that counts. (162) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Each age is a pigeon-hole. (157) • Life is an affair of people and not of places. But for me life is an affair of places and that is the trouble. (158) • After one has abandoned a belief in god, poetry is that essence which takes its place as life's redemption. (158) • The imagination wishes to be indulged. (159) • Poetry is not personal. (159) • The real is only the base. But it is the base. (160) • Weather is a sense of nature. Poetry is a sense. (161) • All poetry is experimental poetry. (161) • It is the belief and not the god that counts. (162) • The purpose of poetry is to make life complete in itself. (162) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Each age is a pigeon-hole. (157) • Life is an affair of people and not of places. But for me life is an affair of places and that is the trouble. (158) • After one has abandoned a belief in god, poetry is that essence which takes its place as life's redemption. (158) • The imagination wishes to be indulged. (159) • Poetry is not personal. (159) • The real is only the base. But it is the base. (160) • Weather is a sense of nature. Poetry is a sense. (161) • All poetry is experimental poetry. (161) • It is the belief and not the god that counts. (162) • The purpose of poetry is to make life complete in itself. (162) • The final belief is to believe in a fiction, which you know to be a fiction, there being nothing else. The exquisite truth of belief is to know that is a fiction and that you believe in it willingly. (163) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Each age is a pigeon-hole. (157) • Life is an affair of people and not of places. But for me life is an affair of places and that is the trouble. (158) • After one has abandoned a belief in god, poetry is that essence which takes its place as life's redemption. (158) • The imagination wishes to be indulged. (159) • Poetry is not personal. (159) • The real is only the base. But it is the base. (160) • Weather is a sense of nature. Poetry is a sense. (161) • All poetry is experimental poetry. (161) • It is the belief and not the god that counts. (162) • The purpose of poetry is to make life complete in itself. (162) • The final belief is to believe in a fiction, which you know to be a fiction, there being nothing else. The exquisite truth of belief is to know that is a fiction and that you believe in it willingly. (163) • The exquisite environment of fact. The final poem will be the poem of fact in the language of fact. But it will be the poem of fact not realized before. (164) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Each age is a pigeon-hole. (157) • Life is an affair of people and not of places. But for me life is an affair of places and that is the trouble. (158) • After one has abandoned a belief in god, poetry is that essence which takes its place as life's redemption. (158) • The imagination wishes to be indulged. (159) • Poetry is not personal. (159) • The real is only the base. But it is the base. (160) • Weather is a sense of nature. Poetry is a sense. (161) • All poetry is experimental poetry. (161) • It is the belief and not the god that counts. (162) • The purpose of poetry is to make life complete in itself. (162) • The final belief is to believe in a fiction, which you know to be a fiction, there being nothing else. The exquisite truth of belief is to know that it is a fiction and that you believe in it willingly. (163) • The exquisite environment of fact. The final poem will be the poem of fact in the language of fact. But it will be the poem of fact not realized before. (164) • We live in the mind. (164) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Money is a kind of poetry. (165) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Money is a kind of poetry. (165) • It is not every day that the world arranges itself in a poem. (165) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Money is a kind of poetry. (165) • It is not every day that the world arranges itself in a poem. (165) • The death of one god is the death of all. (165) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Money is a kind of poetry. (165) • It is not every day that the world arranges itself in a poem. (165) • The death of one god is the death of all. (165) • In the presence of extraordinary actuality, consciousness takes the place of imagination. (165) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Money is a kind of poetry. (165) • It is not every day that the world arranges itself in a poem. (165) • The death of one god is the death of all. (165) • In the presence of extraordinary actuality, consciousness takes the place of imagination. (165) • A poet looks at the world as a man looks at a woman. (165) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Money is a kind of poetry. (165) • It is not every day that the world arranges itself in a poem. (165) • The death of one god is the death of all. (165) • In the presence of extraordinary actuality, consciousness takes the place of imagination. (165) • A poet looks at the world as a man looks at a woman. (165) • Perhaps there is a degree of perception at which what is real and what is imagined are one: a state of clairvoyant observation, accessible or possibly accessible to the poet or, say, the acutest poet. (166) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Money is a kind of poetry. (165) • It is not every day that the world arranges itself in a poem. (165) • The death of one god is the death of all. (165) • In the presence of extraordinary actuality, consciousness takes the place of imagination. (165) • A poet looks at the world as a man looks at a woman. (165) • Perhaps there is a degree of perception at which what is real and what is imagined are one: a state of clairvoyant observation, accessible or possibly accessible to the poet or, say, the acutest poet. (166) • Realism is a corruption of reality. (166) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Money is a kind of poetry. (165) • It is not every day that the world arranges itself in a poem. (165) • The death of one god is the death of all. (165) • In the presence of extraordinary actuality, consciousness takes the place of imagination. (165) • A poet looks at the world as a man looks at a woman. (165) • Perhaps there is a degree of perception at which what is real and what is imagined are one: a state of clairvoyant observation, accessible or possibly accessible to the poet or, say, the acutest poet. (166) • Realism is a corruption of reality. (166) • I don't think we should insist that the poet is normal or, for that matter, that anybody is. (166) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Money is a kind of poetry. (165) • It is not every day that the world arranges itself in a poem. (165) • The death of one god is the death of all. (165) • In the presence of extraordinary actuality, consciousness takes the place of imagination. (165) • A poet looks at the world as a man looks at a woman. (165) • Perhaps there is a degree of perception at which what is real and what is imagined are one: a state of clairvoyant observation, accessible or possibly accessible to the poet or, say, the acutest poet. (166) • Realism is a corruption of reality. (166) • I don't think we should insist that the poet is normal or, for that matter, that anybody is. (166) • When one is young everything is physical; when one is old everything is psychic. (167) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Money is a kind of poetry. (165) • It is not every day that the world arranges itself in a poem. (165) • The death of one god is the death of all. (165) • In the presence of extraordinary actuality, consciousness takes the place of imagination. (165) • A poet looks at the world as a man looks at a woman. (165) • Perhaps there is a degree of perception at which what is real and what is imagined are one: a state of clairvoyant observation, accessible or possibly accessible to the poet or, say, the acutest poet. (166) • Realism is a corruption of reality. (166) • I don't think we should insist that the poet is normal or, for that matter, that anybody is. (166) • When one is young everything is physical; when one is old everything is psychic. (167) • The tongue is an eye. (167) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • Money is a kind of poetry. (165) • It is not every day that the world arranges itself in a poem. (165) • The death of one god is the death of all. (165) • In the presence of extraordinary actuality, consciousness takes the place of imagination. (165) • A poet looks at the world as a man looks at a woman. (165) • Perhaps there is a degree of perception at which what is real and what is imagined are one: a state of clairvoyant observation, accessible or possibly accessible to the poet or, say, the acutest poet. (166) • Realism is a corruption of reality. (166) • I don't think we should insist that the poet is normal or, for that matter, that anybody is. (166) • When one is young everything is physical; when one is old everything is psychic. (167) • The tongue is an eye. (167) • When the mind is like a hall in which thought is like a voice speaking, the voice is always that of someone else. (168) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • The body is the great poem. (168) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • The body is the great poem. (168) • Poetry must resist the intelligence almost successfully. (171) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • The body is the great poem. (168) • Poetry must resist the intelligence almost successfully. (171) • Eventually an imaginary world is entirely without interest. (175) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • The body is the great poem. (168) • Poetry must resist the intelligence almost successfully. (171) • Eventually an imaginary world is entirely without interest. (175) • I have no life except in poetry. No doubt that would be true if my whole life was free for poetry. (175) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • The body is the great poem. (168) • Poetry must resist the intelligence almost successfully. (171) • Eventually an imaginary world is entirely without interest. (175) • I have no life except in poetry. No doubt that would be true if my whole life was free for poetry. (175) • There is a nature that absorbs the mixedness of metaphors. (176) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • The body is the great poem. (168) • Poetry must resist the intelligence almost successfully. (171) • Eventually an imaginary world is entirely without interest. (175) • I have no life except in poetry. No doubt that would be true if my whole life was free for poetry. (175) • There is a nature that absorbs the mixedness of metaphors. (176) • There is nothing in the world greater than reality. In this predicament we have to accept reality itself as the only genius. (177) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • The body is the great poem. (168) • Poetry must resist the intelligence almost successfully. (171) • Eventually an imaginary world is entirely without interest. (175) • I have no life except in poetry. No doubt that would be true if my whole life was free for poetry. (175) • There is a nature that absorbs the mixedness of metaphors. (176) • There is nothing in the world greater than reality. In this predicament we have to accept reality itself as the only genius. (177) • Reality is a cliché from which we escape by metaphor. (179) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • The body is the great poem. (168) • Poetry must resist the intelligence almost successfully. (171) • Eventually an imaginary world is entirely without interest. (175) • I have no life except in poetry. No doubt that would be true if my whole life was free for poetry. (175) • There is a nature that absorbs the mixedness of metaphors. (176) • There is nothing in the world greater than reality. In this predicament we have to accept reality itself as the only genius. (177) • Reality is a cliché from which we escape by metaphor. (179) • Imagination is the only genius. (179) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • The body is the great poem. (168) • Poetry must resist the intelligence almost successfully. (171) • Eventually an imaginary world is entirely without interest. (175) • I have no life except in poetry. No doubt that would be true if my whole life was free for poetry. (175) • There is a nature that absorbs the mixedness of metaphors. (176) • There is nothing in the world greater than reality. In this predicament we have to accept reality itself as the only genius. (177) • Reality is a cliché from which we escape by metaphor. (179) • Imagination is the only genius. (179) • In the long run the truth does not matter) (180) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • The body is the great poem. (168) • Poetry must resist the intelligence almost successfully. (171) • Eventually an imaginary world is entirely without interest. (175) • I have no life except in poetry. No doubt that would be true if my whole life was free for poetry. (175) • There is a nature that absorbs the mixedness of metaphors. (176) • There is nothing in the world greater than reality. In this predicament we have to accept reality itself as the only genius. (177) • Reality is a cliché from which we escape by metaphor. (179) • Imagination is the only genius. (179) • In the long run the truth does not matter. (180) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • The body is the great poem. (168) • Poetry must resist the intelligence almost successfully. (171) • Eventually an imaginary world is entirely without interest. (175) • I have no life except in poetry. No doubt that would be true if my whole life was free for poetry. (175) • There is a nature that absorbs the mixedness of metaphors. (176) • There is nothing in the world greater than reality. In this predicament we have to accept reality itself as the only genius. (177) • Reality is a cliché from which we escape by metaphor. (179) • Imagination is the only genius. (179) • In the long run the truth does not matter (180) ENGL 3370: Modern American Poetry

Wallace Stevens, “Adagia” (from Opus Posthumous) • The body is the great poem. (168) • Poetry must resist the intelligence almost successfully. (171) • Eventually an imaginary world is entirely without interest. (175) • I have no life except in poetry. No doubt that would be true if my whole life was free for poetry. (175) • There is a nature that absorbs the mixedness of metaphors. (176) • There is nothing in the world greater than reality. In this predicament we have to accept reality itself as the only genius. (177) • Reality is a cliché from which we escape by metaphor. (179) • Imagination is the only genius. (179) • In the long run the truth does not matter. (180) ENGL 3370: Modern American Poetry

Wallace Stevens The acute intelligence of the imagination, the illimitable resources of its memory, its power to possess the moment it perceives--if we were speaking of light itself, and thinking of the relationship between objects and light, no further demonstration would be necessary. Like light, it adds nothing, except itself. Wallace Stevens, The Necessary Angel ENGL 3370: Modern American Poetry

Wallace Stevens (1879-1955)