A Critical Appreciation of Wallace Steven’s ‘ the Idea of Order at Key West’ Essay Sample
“The Idea of Order at Key West” was written in 1934 and is considered Stevens’ most complicated verse form. It is both long ( being eight stanzas and 56 lines ) and in deepness. ”The Idea …” is in a loose iambic pentameter and is written in free poetry. significance that there is no organized rime form. The stanzas are a spot confusing because the 5th one is indented a batch after the 4th one. In fact. there is no existent line between them. Equally complex as it is. the secret plan of “The Idea…” is instead simple. The talker of the verse form. a adult male. is walking down a beach with a friend and hears a adult female vocalizing. He muses on how the sounds of the ocean contrast and animate her voice. He imagines that she is every bit beautiful as both her vocal and the ocean. Though he doesn’t really see the woman’s face.
Only $13.90 / page
the talker knows that she is lovely. As he walks behind her. the talker notices how her bright. aeriform voice compares to the dark sounding sea. To him it is about as if the ocean was a spirit whose voice they could non hear. but knew was at that place. For most of the verse form Stevens pigments a image of an ocean that is both enrapturing and cryptic at the same clip.
In bend. the woman’s vocal is made mystical and tempting because of the scene. Though we. the readers. don’t see the adult female or hear her vocal. we experience the transmutation that the sea. the metropolis. and the talker go through. In the 4th stanza the tone of the verse form turns darker and the talker begins to detect things other than the adult female. her vocal. and the ocean. He claims that it was her voice that made the sky clearer and the ocean belonged to her and her vocal entirely. He and his comrade realize that the lone universe for her was the “one she sang and. vocalizing. made. ” In the 7th stanza we learn the name of the speaker’s comrade: Ramon Fernandez. He ( the talker ) asks Ramon why things looked different after the enigma adult female finished her vocal ; her vocal made the metropolis visible radiations brighter and more enrapturing than they were earlier. At this point we realize that the talker has had an epiphany. Some critics say that the speaker’s epiphany was Stevens’ manner of demoing the importance of art. Without it. and in this instance without vocal. we would ne’er be able to see the universe clearly. The woman’s vocal opened up the talkers eyes to the visible radiation of the universe around him. and in bend the verse form itself opened up our eyes. The verse form focuses on the perceptual experience of imaginativeness and world.
In this verse form. world pertains to the entirety of all things possessing actuality. being or kernel ; imaginativeness. on the other manus. gaining controls and interprets world so an person is able to make their ain significance of the given universe. and get away the facts of being through their ain sense of creativeness and inventiveness. At the beginning of the verse form the talker seeks an reply to whether the vocal exists through an external world or within his ability to explicate this into something personal. Throughout his walk the talker ne’er genuinely determines whether the vocal is an external world or within his ain imaginativeness. Stevens proposes that the vocal is neither. since one is non able to be without the other. Near the terminal of the verse form. the talker muses upon the woman’s vocal and determines that she is both of vocal and sea. therefore his enjoyment is derived out of a merger of his imaginativeness construing the voice along with an external consciousness of his environing world. Above all. Stevens gaining controls and portrays this subject through his apprehension of the human status which perceives the inhuman as homo.
Throughout “The Idea of Order at Key West” the storyteller apparently attempts to separate whether the vocal he hears is the sea’s waves singing to the woman’s voice. or if the singer’s melody is his imagination’s perceptual experience of the ocean. To reply this inquiry. Stevens suggest that the storyteller must look into and acknowledge the difference between imaginativeness and world. Since the sea is an external nature which causes a meaningless “constant cry” and can non be “formed to mind or voice” . the storyteller must separate the ocean’s image and counterpart through the vocalist. Likewise. her ability to express the sound of the moving ridges “word by word” helps to transform the inhuman vocal of the sea into the wholly human vocal of the adult female. Furthermore. as the vocalist steps and interprets her vocal ; the ocean likewise analyzes and follows the Torahs of nature.
As the talker begins to comprehend that the vocal is more than the sea simply singing through the woman’s voice. he begins to experience a sense of ineffability which goes beyond the mere linguistic communication of the melody and experience of his walk. Therefore in stanza 20 eight he states: “But it was more than that. more even than her voice. and ours” The storyteller begins to accept the enigma behind the song’s cloud nine and acquires the melody as the driving spirit of all the external worlds in his presence. This realisation of the song’s ineffability makes “the sky acutest at its vanishing” ( 35 ) and “measured to the hr at its solitude” . For Stevens. these Acts of the Apostless of reading are basically human Acts of the Apostless which help people come in touch with themselves and the universe around them in order to see the joys of being one with both themselves and nature.
Within the concluding lines of the verse form. Stevens’ links the rubric by linking with and associating to our desire for ordered experiences and sympathizes among us since we ever try to do the cold homo. Therefore at the stoping. the woman’s vocal guides the storyteller and helps to unclutter the vision between the order which humans seek of the natural universe: “O! Blessed fury for order” . Likewise this awareness opens “fragrant portals” . The “fragrant portals” are of import because they open a new door to an enlightening new self-awareness. Furthermore. as storyteller begins to grok the message of the woman’s vocal. he realizes that the vocal allowed him to see order in the universe. Additionally. the vocal produces from within him a desire to make his ain vocal. in order to interact and match with the imaginativeness of others merely like adult female has done to his.
Stevens’ apprehension of the human status serves a great intent in “The Idea of Order at Key West” . Stevens portrays the narrator’s experiences through the contemplation of his ideas. When the voice comes along he begins to alter his manner of thought because she helps him understand and go witting of the semblance of his imaginativeness. Through the linguistic communication of “The Idea of Order at Key West” Wallace Stevens expresses his perceptual experience of the universe. His ideas and linguistic communication go his instruments that craft the verse form. Through the readers of the verse form. Stevens gaining controls and engages them: “It is the witness and non life. which art truly mirrors” ( Oscar Wilde ) As the witness mirrors this signifier of art and interprets intending into the work’s allurement. they going cultivated and enlightened. As a poet. Wallace Stevens believed that poesy should be similar to a work of art. And like a work of art. Stevens’ poesy helps his readers discover order in a helter-skelter universe.