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Disillusionment of Ten O'Clock" is a poem from Wallace Stevens's first book of poetry, Harmonium. First published in 1915, it is in the public domain. First published in 1915, it is in the public domain.
Disillusionment of Ten O'Clock", which peppers the reader with visual images, would serve as a simple example, "Sea Surface Full of Clouds" as more complex. The Imagist poet and critic John Gould Fletcher wrote in 1923 that because of his honesty Stevens stands "head and shoulders" above the internationally famous aesthetes like Eliot , the ...
The dweller in the dark cabin may be understood to be the specifically poetical dreamer, like the old sailor in "Disillusionment of Ten O'Clock". Stevens enjoins him not to sleep in his dream, but rather to explore its riches. If the sleeper rises to do so, he will not waken, for he is still in the dream.
Poetic drowsing is liable to attack by the Indian, or by Berserk in "Peacocks", defeating imagination's task of transforming the ordinary. This sense of danger is absent in such earlier poems as "Disillusionment of Ten O'Clock" (1915), where the old sailor need fear no such violence as he catches tigers in red weather.
Two Figures in Dense Violet Night" is a poem from Wallace Stevens's first book of poetry, Harmonium. It was first published in 1923. [1]
Tattoo" is a poem from Wallace Stevens's first book of poetry, Harmonium. It was originally published in 1916, so it is in the public domain. [ 1 ] Librivox has made the poem available in voice recording in its The Complete Public Domain Poems of Wallace Stevens .
This poem can be read as a declaration of independence for American poetry. The new world's "inchling" poets [3] are defiant towards the traditional literary canon, and particularly defiant against the unnamed, arrogant, self-appointed gatekeeper of literary tradition; they are confident instead in their own free powers of innovation in the New World.
The first displays the influence of haiku and orientalism on Stevens, the second evokes the romantic mystery of night, the third is a wry comment about the duality of the human condition, the dream in the fourth bears comparison to Klee and Chagall, the fifth acknowledges the subtlety of nature, and the sixth associates this subtlety with a ...