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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. [1]
Doggett interprets the poem differently, without imputing a dream world explored by the poet. The dweller is the self, and the dark cabin is the body. The dweller's "sense of reality is obscured as though in a dream, but beside [his] cabin is the vivid actual plantain of green reality and the sun". [2] Buttel comments on the poem's title.
Ash Wednesday (poem) At the Hub; B. Ballad of the Goodly Fere; Birches (poem) Burnt Norton; D. Desert Places; Disillusionment of Ten O'Clock; Do not go gentle into ...
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.
The poem is an expression of Stevens' perspectivism, leading from a relatively objective description of a winter scene to a relatively subjective emotional response (thinking of misery in the sound of the wind), to the final idea that the listener and the world itself are "nothing" apart from these perspectives. Stevens has the world look at ...
Lucy Maud Montgomery OBE (November 30, 1874 – April 24, 1942), published as L. M. Montgomery, was a Canadian author best known for a collection of novels, essays, short stories, and poetry beginning in 1908 with Anne of Green Gables.
The poem describes a woman and her prayer ceremony in a garden, and the Lord's religiously unorthodox response. If the "true subject" of the poem is an erotic moment, the "poetry of the subject" is a delicate poetic bouquet.(For more on this distinction see "Le Monocle de Mon Oncle".) Or one might follow Joan Richardson in viewing it as a ...
To tether Stevens' poems to human feeling is at least to remove him from the "world of ghosts" where he is so often located, and to insist that he is a poet of more than epistemological questions alone. [4] Vendler and Richardson disagree about how to understand Stevens' distinction between the "true subject" of a poem and "the poetry of the ...