Wallace Stevens: Trending quotes (page 2)

"Domination of Black"
Harmonium (1923)
Context: I heard them cry — the peacocks.
Was it a cry against the twilight
Or against the leaves themselves
Turning in the wind,
Turning as the flames
Turned in the fire,
Turning as the tails of the peacocks
Turned in the loud fire,
Loud as the hemlocks
Full of the cry of the peacocks?
Or was it a cry against the hemlocks?

Notes Toward a Supreme Fiction (1942), It Must Change

"The Snow Man"
Harmonium (1923)
Context: p>One must have a mind of winter
To regard the frost and the boughs
Of the pine-trees crusted with snow;And have been cold a long time
To behold the junipers shagged with ice,
The spruces rough in the distant glitterOf the January sun; and not to think
Of any misery in the sound of the wind,
In the sound of a few leaves,Which is the sound of the land
Full of the same wind
That is blowing in the same bare placeFor the listener, who listens in the snow,
And, nothing himself, beholds
Nothing that is not there and the nothing that is.</p

Notes Toward a Supreme Fiction (1942), It Must Give Pleasure
Context: Soldier, there is a war between the mind
And sky, between thought and day and night. It is
For that the poet is always in the sun, Patches the moon together in his room
To his Virgilian cadences, up down,
Up down. It is a war that never ends.

Notes Toward a Supreme Fiction (1942), It Must Be Abstract
Context: p>Begin, ephebe, by perceiving the idea
Of this invention, this invented world,
The inconceivable idea of the sun.You must become an ignorant man again
And see the sun again with an ignorant eye
And see it clearly in the idea of it.Never suppose an inventing mind as source
Of this idea nor for that mind compose
A voluminous master folded in his fire.</p

Notes Toward a Supreme Fiction (1942), It Must Give Pleasure
Context: p>The difficultest rigor is forthwith,
On the image of what we see, to catch from that
Irrational moment its unreasoning,
As when the sun comes rising, when the sea
Clears deeply, when the moon hangs on the wall Of heaven-haven. These are not things transformed.
Yet we are shaken by them as if they were.
We reason about them with a later reason.</p

Notes Toward a Supreme Fiction (1942), It Must Change
Context: p>The casual is not Enough. The freshness of transformation isThe freshness of a world. It is our own,
It is ourselves, the freshness of ourselves,
And that necessity and that presentationAre rubbings of a glass in which we peer.</p

Notes Toward a Supreme Fiction (1942), It Must Change
Context: The bees came booming as if they had never gone,
As if hyacinths had never gone. We say
This changes and that changes. Thus the constant Violets, doves, girls, bees and hyacinths
Are inconstant objects of inconstant cause
In a universe of inconstancy. This meansNight-blue is an inconstant thing. The seraph
Is satyr in Saturn, according to his thoughts.

"Valley Candle"
Harmonium (1923)
Context: My candle burned alone in an immense valley.
Beams of the huge night converged upon it,
Until the wind blew.
Then beams of the huge night
Converged upon its image,
Until the wind blew.

Notes Toward a Supreme Fiction (1942), It Must Be Abstract
Context: p>It must be visible or invisible,
Invisible or visible or both:
A seeing and unseeing in the eye.The weather and the giant of the weather,
Say the weather, the mere weather, the mere air:
An abstraction blooded, as a man by thought.</p

Notes Toward a Supreme Fiction (1942), It Must Give Pleasure
Context: p>But to impose is not
To discover. To discover an order as of
A season, to discover summer and know it, To discover winter and know it well, to find
Not to impose, not to have reasoned at all,
Out of nothing to have come on major weather,It is possible, possible, possible. It must
Be possible. It must be that in time
The real will from its crude compoundings come,Seeming at first, a beast disgorged, unlike,
Warmed by a desperate milk. To find the real,
To be stripped of every fiction except one,The fiction of an absolute — Angel,
Be silent in your luminous cloud and hear
The luminous melody of proper sound.

Notes Toward a Supreme Fiction (1942), It Must Be Abstract
Context: p>So poisonousAre the ravishments of truth, so fatal to
The truth itself, the first idea becomes
The hermit in a poet’s metaphors,Who comes and goes and comes and goes all day.</p

"Less and Less Human, O Savage Spirit"
Transport to Summer (1947)
Context: p> If there must be a god in the house, must be,
Saying things in the room and on the stair,Let him move as the sunlight moves on the floor,
Or moonlight, silently, as Plato's ghostOr Aristotle's skeleton. Let him hang out
His stars on the wall. He must dwell quietly.He must be incapable of speaking, closed,
As those are: as light, for all its motion, is;As color, even the closest to us, is;
As shapes, though they portend us, are.It is the human that is the alien,
The human that has no cousin in the moon.It is the human that demands his speech
From beasts or from the incommunicable mass.If there must be a god in the house, let him be one
That will not hear us when we speak: a coolnessA vermillioned nothingness, any stick of the mass
Of which we are too distantly a part.</p

The Necessary Angel (1951), Imagination as Value
Context: The best definition of true imagination is that it is the sum of our faculties. Poetry is the scholar's art. 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... What light requires a day to do, and by day I mean a kind of Biblical revolution of time, the imagination does in the twinkling of an eye. It colors, increases, brings to a beginning and end, invents languages, crushes men, and, for that matter, gods in its hands, it says to women more than it is possible to say, it rescues all of us from what we have called absolute fact...

Notes Toward a Supreme Fiction (1942), It Must Give Pleasure
Variant: Beyond which thought could not progress as thought.
Context: The nothingness was a nakedness, a point,Beyond which fact could not progress as fact.
Thereon the learning of the man conceived
Once more night’s pale illuminations, goldBeneath, far underneath, the surface of
His eye and audible in the mountain of
His ear, the very material of his mind.</p

The Man With the Blue Guitar (1937)
Context: What is beyond the cathedral, outside,
Balances with nuptial song.
So it is to sit and to balance things
To and to and to the point of still,
To say of one mask it is like,
To say of another it is like,
To know that the balance does not quite rest,
That the mask is strange, however like.

"Hieroglyphica" (1934)

Notes Toward a Supreme Fiction (1942), It Must Give Pleasure
Context: p>Straight to the utmost crown of night he flew.
The nothingness was a nakedness, a pointBeyond which thought could not progress as thought.
He had to choose. But it was not a choice
Between excluding things. It was not a choiceBetween, but of. He chose to include the things
That in each other are included, the whole,
The complicate, the amassing harmony.</p

The Man With the Blue Guitar (1937)
Context: Here is the bread of time to come,
Here is its actual stone. The bread
Will be our bread, the stone will be
Our bed and we shall sleep by night.
We shall forget by day, except
The moments when we choose to play
The imagined pine, the imagined jay.