Model
Digital Document
Publisher
Florida Atlantic University
Description
A detailed analysis of Wallace Stevens' rock and statue symbols,
as they recur throughout the poet's career, reveals an intricate
chronological pattern. Such a pattern is based on Stevens'
philosophical commitment to a world of constant change and elusive
perceptual assertions. Stevens' symbols operate through a system
of meaning which is controlled and variable at the same time. Two
concepts of symbolic structure are defined: the prismatic principle,
or focal point through which all meanings are projected, and the
spectrum of import, the expansive pattern which shapes and modulates
symbolic meaning. Symbols zig-zag from abstract to concrete levels
of meaning development. Four major stages are analyzed: The Icon,
Stage 1 (1921-1935), The Statue, Stage 2 (1935-1938), The Transitional
Levels, Stage 3 (1938-1946), and The Rock, Stage 4 (1946-1950). The
paradox of co-existing pattern and flux in Stevens' symbols emerges from
his overriding dualistic uncertainties.
as they recur throughout the poet's career, reveals an intricate
chronological pattern. Such a pattern is based on Stevens'
philosophical commitment to a world of constant change and elusive
perceptual assertions. Stevens' symbols operate through a system
of meaning which is controlled and variable at the same time. Two
concepts of symbolic structure are defined: the prismatic principle,
or focal point through which all meanings are projected, and the
spectrum of import, the expansive pattern which shapes and modulates
symbolic meaning. Symbols zig-zag from abstract to concrete levels
of meaning development. Four major stages are analyzed: The Icon,
Stage 1 (1921-1935), The Statue, Stage 2 (1935-1938), The Transitional
Levels, Stage 3 (1938-1946), and The Rock, Stage 4 (1946-1950). The
paradox of co-existing pattern and flux in Stevens' symbols emerges from
his overriding dualistic uncertainties.
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