Stevens, Wallace
(Reading, Penn. 1879-1955 Hartford, Conn.) : Dichter, Schriftsteller, Dramatiker, Anwalt
Subjects
Index of Names : Occident
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Literature : Occident : United States of America
Chronology Entries (13)
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| 1 | 1897-1916 | Wallace Stevens, as an enthusiastic admirer of Chinese landscape painting, went to a few exhibitions of Far Eastern art in Boston and New York. 1908-1909 : Wallace Stevens' interest in Oriental art spurred him to study the subject extensively. 1909 he did reading about Chinese art in the Astor Library, New York and copied what he considered to be essential in his journal. These included Kakuso Okakura's The ideal of the East and Laurence Binyon's Painting in the Far East. "Kakuzo Okakura is a cultivated, but not an original thinker". In his reading and viewing of Chinese art his taste appeared specially for Song landscape painting that illustrates the Tao or the Chan with unnatural clarity. |
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| 2 | 1897-1955 |
Wallace Stevens and China : general Quellen : Beal, Samuel. Buddhism in China [ID D8373]. Binyon, Laurence. Painting in the Far East [ID D21512]. Duthuit, Georges. Chinese mysticism and modern painting [ID D30303]. Exhibition of Chinese sculpture, Han (206 B.C.-A.D. 220) to Sung (A.D. 960-1279) [ID D30325]. Fenollosa, Ernest. Epochs of Chinese and Japanese art [ID D5101]. Hackney, Louise Wallace. Guide-posts to Chinese painting [ID D30326]. Okakura, Kakuzô. The book of tea [ID D30306]. Okakura, Kakuzô. The ideals of the East [ID D30304]. Pope, Arthur. An introduction to the language of drawing and painting [ID D30305]. 1925 Munson, Gorham B. The dandyism of Wallace Stevens. In : Dial ; vol. 79 (Nov. 1925). Because of this tranquility, this well-fed and well-booted dandyism of contentment, Mr. Stevens has been called Chinese. Undeniably, he has been influenced by Chinese verse, as he has been by French verse, but one must not force the comparison. For Chinese poetry as a whole rests upon great humanistic and religious traditions : its quiet strength and peace are often simply by-products of a profound understanding ; its epicureanism is less an end, more a function, than the tranquility – may I say – the decidedly American tranquility of Wallace. 1993 Lloyd Haft : It is difficult to imagine a modern American poet whose work would be more difficult to translate into Chinese than that of Wallace Stevens. His esthetic, in which anything like rational understandability seems almost taboo and which continually prefers 'gaiety' or 'gaudiness' to the flat, spare, quasi-'objective' sound affected by many of his contemporaries, poses nightmares even for the native reader seeking comprehension. From the translator's point of view, another troublesome feature of Stevens' poetic world is that his central subjects, the 'mind' and the 'imagination', are terms more specific to the English language than many readers realize. 2003 Qian Zhaoming : Wallace Stevens's Chan-like notions are directly linked to his lifelong interest in Chan art. In Bevis, William W. Mind of winter : Wallace Stevens, meditation, and literature. (Pittsburgh, Pa. : University of Pittsburgh Press, 1988), William Bevis states, "A number of Stevens' poems seem not only to use meditative issues and points of view, but also to imitate the structure of meditative experience, an advanced, sensate meditative experience that follows the middle way." For Bevis, Stevens's use of meditation is no proof for direct exchange with Chan. To quote his words, "Stevens seems to have arrived at his knowledge without significant help from Buddhists, scientists, or orientalists." In my view, Stevens's innate meditative detachment not only clarifies his well-known fascination with Chan art, but also multiplies the likelihood of an intimate transaction with its message. Chan art is designed to invite viewers to enter into it and lose themselves to its outlook. Stevens's habit of looking at things with meditative detachment almost ensures his entry into the nothing or the no-mind state of Chan art with the thing itself perceived. Okakura's The ideals of the East offers accounts of the origin of Chan, its emphasis on meditation, its disrespect for rituals, and, above all, what it means by 'suchness' . Binyon's Painting in the Far East similarly elaborates on Chan art. The essay on The noble features of the forest and the stream gives a superb insight into the Chan belief that people can enjoy 'the luxuries of nature' even 'without stepping out of their houses'. It was Chan painting that played a principal role in elevating Stevens' detachment to a higher level of meditative experience. One is offered three ways to grasp Chan : visual, verbal, and actional. Stevens was involved in all three during his formative years. It was his own meditative nature that inspired his to pursue Chan art. From there he moved on to read about Chan Buddhism. 2007 Huang, Xiaoyan. Guo jia she ke ji jin ke ti de jie duan xing cheng guo zhi yi. [ID D30293]. As a modern American poet, Wallace Stevens apparently assimilated the Chinese Cultural heritage in his poetry writing. We can sense the influences of Chinese culture here and there in his poems, essays, letters and journals as well. This paper attempts to explore the relations between Stevens and China, to analyze Chinese Daoism and the spirit of Chinese art absorbed in his poetry creating, and to find a new way to interpret Stevens and his poems. 2009 Devin Zuber : Stevens assembled a private art collection that included Japanese and Chinese prints, paintings, and Buddhist statues, as well as an impressive array of costly exhibition catalogues on Oriental art, in addition to numerous other books related to Buddhism and Eastern religions. Stevens shared with Zen Buddhism a deep skepticism towards language as a system of representation ; one reason Zen painting developed as a kind of didactic tool in the way that it did stemmed from a strong conviction that words were woefully inadequate for the totality of experience. |
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| 3 | 1909-1954 |
Stevens, Wallace. The letters of Wallace Stevens [ID D30294]. Letter from Wallace Stevens to Elsie Moll ; Thursday Evening [New York, March 18, 1909] Shall I send a picture or two to make a private exhibition for you ? Well, here they are, and all from the Chinese, painted centuries ago : 'pale orange, green and crimson, and white, and gold, and brown' ; and 'deep lapis-lazuli and orange, and opaque green, fawn-color, black, and gold' ; and 'lapis blue and vermilion, white, and gold and green. I do not know if you feel as I do about a place so remote and unknown as China – the irreality of it. So much so, that the little realities of it seem wonderful and beyond belief. – I have just been reading about the Chinese feeling about landscape. Just as we have certain traditional subjects that our artists delight to portray (like 'Washington Crossing the Delaware' or 'Mother and Child' etc. etc.!) so the Chinese have certain aspects of nature, of landscape, that have become traditional. – A list of those aspects would be as fascinating as those lists of 'Pleasant Things' I used to send. Here is the list (upon my soul!) – The Evening Bell from a Distant Temple Sunset Glow over a Fishing Village Fine Weather after Storm at a Lonely Mountain Town Homeward-bound Boats off a Distant Shore The Autumn Moon over Lake Tung-t'ing Wild Geese on a Sandy Plain Night Rain in Hsiao-Hsiang. This is one of the most curious things I ever saw, because it is so comprehensive. Any twilight picture is included under the first title, for example. 'It is just that silent hour when travellers say to themselves, 'The day is done', and to their ears comes from the distance the expected sound of the evening bell'. – And last of all in my package of strange things from the East, a little poem written centuries ago by Wang-an-shih : 'It is midnight ; all is silent in the house ; the Water-clock has stopped. But I am unable to sleep because of the beauty of the trembling shapes of the spring-flowers, thrown by the moon upon the blind. ' I don't know anything more beautiful than that anywhere, ore more Chinese – and Master Green-cap bows to Wang-an-shih. No : Wang-an-shih is sleeping, and may not be disturbed. – I am going to poke around more or less in the dust of Asia for a week or two and have no idea what I shall disturb and bring to light. – Curious thing, how little we know about Asia, and all that. It makes me wild to learn it all in a night – But Asia (a brief flight from Picardy – as the mind flies) will do for some other time… Letter from Wallace Steven to his wife Elsie ; Monday Afternoon, [New York], Jan. 2 [1911]. Walked down Fifth Avenue to Madison Square and, after lunch, went into the American Art Galleries, where, among other things, they are showing some Chinese and Japanese jades and porcelains. Letter from Wallace Stevens to his wife Elsie ; 20 Aug. (1911). Stevens enclosed in his letter the excerpt of the essay on Chinese painting The noble features of the forest and the stream by Guo Xi. "Nearly a thousand years ago the critic, Kuo His [Guo Xi], in his work, The Noble Features of the Forest and the Stream, expressed once for all the guiding sentiment of Chinese landscape painting. He takes it as axiomatic that all gently disposed people would prefer to lead a solitary and contemplative life in communion with nature, but he sees, too, that the public weal does not permit such an indulgence. This is not the time for us [he writes] to abandon the busy worldly life for one of seclusion in the mountains, as was honorably done by some ancient sages in their days. Though impatient to enjoy a life amidst the luxuries of nature, most people are debarred from indulging in such pleasures. To meet this want, artists have endeavored to represent landscapes so that people may be able to behold the grandeur of nature without stepping out of their houses. In this light painting affords pleasures of a nobler sort, by removing from one the impatient desire of actually observing nature. Such a passage yields its full meaning only upon very careful reading. One should note the background of civilization, quietism, and rural idealism implied in so casual an expression as the luxuries of nature. Nor should one fail to see that what is brought into the home of the restless worldling is not the mere likeness of nature, but the choice feeling of the sage." Letter from Wallace Stevens to his wife Elsie ; Sunday Evening [New York July 25, 1915]. Then I went over to the Botanical Garden where I spent several hours in studying the most charming things. I was able to impress on myself that larkspur comes from China. Was there ever anything more Chinese when you stop to think of it ? And coleus comes from Java. Good Heavens, how that helps one to understand coleus – or Java. There were bell-flowers from China too, incredibly Chinese… There are patches of marigolds, portulaca, petunias, everlastings, etc. One or two things were absolutely new to me. One was a Chinese lantern plant. This is a plant about two feet high which bears pods, the size of peppers. The pods are green at one end and at the bottom, as they hang, are orange or yellow, so that they resemble lantenrs… Letter from Wallace Stevens to Harriet Monroe ; Highland Court Hotel, Harford, Connecticut, May 29th, 1916. The characters are a little more individualized. They seem to me to be distinct parts. Proper acting would bring them out. They may be a little thin to a reader's eye, particularly since I have retained 1st Chinese, 1nd Chinese etc. Letter from Wallace Stevens to Harriet Monroe ; Hartford, Wednesday, October 8, 1919. Have you seen this month's Little Review with the quotation from the Chinese ? [Fenollosa, Ernest ; Pound Ezra. The Chinese written character. In : Little review ; vol. 6 (Oct. 1919)]. Letter from Wallace Stevens to Harriet Monroe ; Hartford. Aug. 24 [1922]. It is a pleasant surprise to have your card from North Carolina with its news from Peking. One of these days, when the different things on their way to Hartford from Peking, Paris, Geneva, London, Mexico (cigars), actually arrive I shall have exhausted the possibilities of life within my scope. Letter from Wallace Stevens to Harriet Monroe ; Sept. 23rd, 1922 I have just returned to the office to-day from a short absence and find the announcement of yr soirée. A telegram would be so demned conspicuous. Sorry. But I also find a package from Peking containing two packages of jasminerie, one of which I have pried open to smell one of the good smells, out of China. It is a very good smell indeed and I am delighted. Nothing could please me more. Do, please, tell your sister, la belle jasminatrice, how grateful I am. I look forward to some subsequent marvel ; but am patient as you required me to be. For a poet to have even a second-hand contact with China is a great matter ; and a desk that sees so much trouble is blessed by such reversions to innocence. Letter from Wallace Stevens to Harriet Monroe ; Harford, Oct. 28, 1922. The box from Peking reached us yesterday. Box, I say, for lo and behold, Mrs. Calhoun sent not one or two, but five, really delightful things. Of these, the chief one is a carved wooden figure of the most benevolent old god you ever saw. He has a staff in one hand and in the other carries a lotus bud. On the back of his head he has a decoration of some sort with ribbons running down into his gown. The wood is of the color of dark cedar but it is neither hard nor oily. And there you are. But the old man, Hson-hsing, has the most amused, the nicest and kindliest expression : quite a pope after one's own heart or at least an invulnerable bishop telling one how fortunate one is, after all, and not to mind one's bad poems. He is on a little teak stand as is, also, each of the other things. The other things are a small jade screen, two black crystal lions and a small jade figure. The jade pieces are white. We have placed the screen behind the prophet, so that if he desires to retire into its cloudy color he can do so conveniently and we have set the lions in his path, one on each side. The heads of these noisy beasts are turned back on their shoulders, quite evidently unable to withstand the mildness of the venerable luminary. The other figure precedes the group as hand-maiden and attendant casting most superior glances at the lions meaning, no doubt, to suggest that it would be best for them to put their tails between their legs and go about their business. Can you, in plain Sandburg, beat it ? Mrs. Stevens will try to take a photograph of the group, so that you can see it for yourself. I have had considerable experience in buying things abroad through other people. This, however, is the first time the thing has been wholly successful ; for this group has been chosen with real feeling for the objects. The old man is so humane that the study of his is a good as a jovial psalm. I must have more, provided he is not a solitary. But I intend to let that rest for the moment for Mrs. Calhoun has clearly gone to a lot of trouble. I have written to her today. But I am as much indebted to you for this blissful adventure and I must thank you too. One might have got a more vanity ! Is it the case, as it seems to be, that there is no vanity in China ? There is, of course, since China has its own classics. This group, however, is pure enough… Letter from Wallace Stevens to his wife Elsie ; [Havana, Cuba] Sunday Afternoon, Febr. 4, 1923. There are plenty of places where English is spoken but to move about freely it is imperative to know Spanish. Even the Chinese speak it. There are a good many Chinese here… Letter from Wallace Stevens to Harriet Monore ; Harford, [July 1924?]. Mrs. Calhoun wrote to me a few weeks ago, from which it appears that 'Harmonium' reached Peking. Letter from Wallace Stevens to Morton Dauwen Zabel ; [Hartford] Oct. 22, 1934. I wish I knew Miss Monroe's address in Peking : that is to say, I wish I knew it, if you thought that she would be interested in doing a little shoping. Letter from Wallace Stevens to Harriet Monroe ; Harford, March 13, 1935. Last autumn, when I heard that you were in Pekin I wrote to Mr. Zabel (his name sounds like an exercise in comparative philology) to ask him your address, because, of course, the mere idea of your being in Pekin, instead of suggesting temple roofs, suggested tea and other things. He sent me your address, but you would have been starting home before my letter reached you… But I suppose that, in the course of a few months, I shall have some money that I can call my own : not much, but enough to buy, say, a pound of Mandarin Tea, a wooden carving, a piece of porcelain or one piece of turquoise, one small landscape painting, and so on and so on. On the other hand, if you think that this would bore your sister, let me know. I should want to send the money through you, and not directly. Letter from Wallace Stevens to Ronald Lane Latimer ; [Hartford], Nov. 5, 1935. I think that I have been influenced by Chinese and Japanese lyrics. Letter from Wallace Stevens to Ronald Lane Latimer ; [Harford] Nov. 21, 1935. A man would have to be very thick-skinned not to be conscious of the pathos of Ethiopia or China, or one of these days, if we are not careful, of this country. Letter from Wallace Stevens to Harriet Monore ; Hartford, Dec. 4, 1935. As you know, I had intended to send you some money for Mrs. Calhoun and, if I had carried out my plans, I should about now be receiving several crates of ancient landscapes, rare Chinese illustrated books, Chun Yao ware, Tang horses, and so on. The truth is that I actually wrote a letter giving you some idea of what I should like to have and then tore it up because it would have run into a great deal of money. I felt too that it would do me good to go without something that I could not have. The exhibition of Chinese works of art that has just opened in London must be a marvelous thing. I get as much satisfaction from reading well-written descriptions of an exhibition of that sort and of the objects in it as I do from most poetry. Letter from Wallace Stevens to James A. Powers ; [Hartford] Dec. 17, 1935. I sent Mr. Qwock [Benjamin Kwok, student Lingnan University, Guangzhou] some money last spring, with a request for some erudite teas. It appears that, when this letter reached Canton, he had left on a holiday in Central China, or in the moon, or wherever it is that Chinese go in the summer time. But on his return to his studies in the autumn he wrote to me and said that he had written to one of his uncles, who lives in Wang-Pang-Woo-Poo-Woof-Woof-Woof, and has been in the tea business for hundreds of generations. I have no doubt that in due course I shall receive from Mr. Qwock enough tea to wreck my last kidney, and with it some very peculiar other things, because I asked him to send me the sort of things that the learned Chinese drink with that sort of tea. Letter from Wallace Stevens to Benjamin Kwok ; Hartford, Dec. 20, 1935. Yesterday (that is to say, on December 19th) three boxes reached me, their contents in perfect condition. This too was very pleasant, because they came just in time for Christmas. What you have sent is precisely what I desired to have, and I particularly liked the little metal jars or canisters containing the better teas. Only recently I had been reading about Chrysanthemum Tea ; now you have made it possible for me to have some myself. This morning for breakfast I had some of the best Kee-Moon, and found it to be a delightful tea. Hearing about Central China and about Hankow, and now about Macao (which we only know of here as a celebrated Portugese gambling center) somehow or other brings me in much closer contact with these places than I ever had before… The climate that you will have in Macao is, I suppose, something like our climate in Florida, because, as I remember the pictures of Macao, the place is full of palms and gives one the impression of being distinctly southern. Letter from Wallace Stevens to Henry Church ; [Harford] Nov. 20, 1944. About Duthuit : I have his little book, or perhaps I should call it album, on Chinese Mysticism and modern Painting. This was published in Paris, and I had Vidal send it to me. I looked at it over the weekend and I should judge from the style that Duthuit is an affable, witty and extremely tolerant person. This is a little broader view of him than I should have had except for the suggestions in your letter. He seemed to be highly sensitive and intelligent, but his friendliness and wit are something that one would have to experience. If you are interested in this book, I shall be glad to send it down to you… [Duthuit, Georges. Chinese mysticism and modern painting. (Paris : Chroniques du Jours, 1936)]. Letter from Wallace Stevens to Henry Church ; [Hartford], July 19, 1945. At the end of June I went up to Cambridge. I met Dr. Richards ; Robert Woods Bliss was there… There was a Chinese there, one of China's delegates to San Francisco, who quoted from Confucius one of those sayings that relieve life of all its complexities. Letter from Wallace Stevens to Thomas McGreevy ; [Harford] ; Febr. 17, 1950. Something has spoiled going south : perhaps it is the cold war, or the iron curtain, or the bamboo curtain. A am afraid that the Chinese have been much disappointed in the bamboo curtain, but it would be a good thing for Russia. Letter from Wallace Stevens to Earl Miner ; Nov. 30, 1950 While I know about haiku, or hokku, I have never studies them… I have been more interested in Japanese prints although I have never collected them… No doubt, too, I have perhaps a half dozen volumes of Chinese and Japanese poetry somewhere in the house. But all this is purely casual. Letter from Wallace Stevens to Helen Head. Simons ; [Hartford], Dec. 21, 1950. This year there is so much to be thankful for : the Eskimos have corrugated roofs on their houses at your expense and mine ; Tito is passing around sandwiches and lemonade on the U.S.A. ; and we are giving a million Chinese a little outdoor exercise which is probably good for them. Letter from Wallace Stevens to Peter H. Lee ; [Hartford], Febr. 26, 1952. The scroll pleases me more than I can tell you. I have hung it in my own room and shall keep it there for a little while, although not permanently because there is a good deal of dust in that room and I want to keep it clean. It goes perfectly with the paper in that room. On the whole, the tones are all neutral. It may be said that even the tones of the berries are neutral because they are so inconspicuous. I don't recognize the birds with their crests and strong feet. They are probably birds very well known in your part of the world, but I do not recall them. On the other hand, the flowers with the reed-like stems around the rocks are what are called Chinese lilies here. They might be white jonquils. All this seems to be part of an idyllic setting in some remote past, having nothing to do with the tormented constructions of contemporary art. The scroll made the same impression on me when I first looked at it that a collection of Chinese poems makes : an impression of something venerable, true and quiet. I am happy to have the scroll. I know that scroll is not the world for it but I do not recall the correct name for it. Letter from Wallace Stevens to Fredrick Morgan ; [Harford], March 20, 1953. There is a young Korean at Yale, Peter Lee, who sent me some translations of ancient Korean poetry which made the same impression on me that translations of ancient Chinese poetry make. Letter from Wallace Stevens to Peter H. Lee ; [Hartford], June 30, 1954. If you want to send one of your Korean paintings to me, don't hesitate because there is nothing that I should like more. On the other hand, Europe is full of museums that are interesting in things of that sort. There used to be at Frankfort a China-Haus. I have no doubt that it would grab at anything you offered it. Letter from Wallace Stevens to Peter H. Lee ; [Harford], July 9, 1954. The most fashionable translator from the Chinese in England at the present time is Arthur Waley and if you could find out who published his books, you might find that those publishers, having developed, possibly, something of a clientele for such subjects, would be interested. Letter from Wallace Stevens to Peter H. Lee ; [Hartford] Jan. 4, 1955. The scroll reached me yesterday. And also a letter from Mr. Pearson, who spoke about you, so that in a way yesterday was Peter Lee Day. The scroll is delightful. I have not yet quite determined where to put it. It is enough for the moment just to possess it and to be able to look at it. It represents my ideal of a happy life : to be able to grow old and fat and lie outdoors under the trees thinking about people and things and things and people… Mr. Pearson bought a little piece of sculpture in London on his last trip which I hope to see. Your scroll will do for me what that piece of sculpture will do for him. Both things are like an old book full of associations of which one becomes the possessor and which makes more difference to one than the most brilliant novel by the most fashionable novelist. |
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| 4 | 1911 | Wallace Stevens was reading Confucius and Mencius. Comment to his wife Elsie : "I always have the wise sayings of Tzu and K'Ung Fu-Tzu to think of". |
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| 5 | 1916 |
Stevens, Wallace. Three travelers watch a sunrise [ID D30295]. The characters are three Chinese, two negroes and a girl. The scene represents a forest of heavy trees on a hilltop in eastern Pennsylvania. To the right is a road, obscured by bushes. It is about four o'clock of a morning in August, at the present time. When the curtain rises, the stage is dark. The limb of a tree creaks. A negro carrying a lantern passes along the road. The sound is repeated. The negro comes through the bushes, raises his lantern and looks through the trees. Discerning a dark object among the branches, he shrinks back, crosses stage, and goes out through the wood to the left. A second negro comes through the bushes to the right. He carries two large baskets, which he places on the ground just inside of the bushes. Enter three Chinese, one of whom carries a lantern. They pause on the road. Second Chinese. All you need, To find poetry, Is to look for it with a lantern. [The Chinese laugh.] Third Chinese. I could find it without, On an August night, If I saw no more Than the dew on the barns. [The Second Negro makes a sound to attract their attention. The three Chinese come through the bushes. The first is short, fat, quizzical, and of middle age. The second is of middle height, thin and turning gray; a man of sense and sympathy. The third is a young man, intent, detached. They wear European clothes.] Second Chinese. [Glancing at the baskets.] Dew is water to see, Not water to drink: We have forgotten water to drink. Yet I am content Just to see sunrise again. I have not seen it Since the day we left Pekin. It filled my doorway, Like whispering women. First Chinese. And I have never seen it. If we have no water, Do find a melon for me In the baskets. [The Second Negro, who has been opening the baskets, hands the First Chinese a melon.] First Chinese. Is there no spring? [The negro takes a water bottle of red porcelain from one of the baskets and places it near the Third Chinese.] Second Chinese. [To Third Chinese.] Your porcelain water bottle. [One of the baskets contains costumes of silk, red, blue and green. During the following speeches, the Chinese put on these costumes, with the assistance of the negro, and seat themselves on the ground.] Third Chinese. This fetches its own water. [Takes the bottle and places it on the ground in the center of the stage.] I drink from it, dry as it is, As you from maxims, [To Second Chinese.] Or you from melons. [To First Chinese.] First Chinese. Not as I, from melons. Be sure of that. Second Chinese. Well, it is true of maxims. [He finds a book in the pocket of his costume, and reads from it.] "The court had known poverty and wretchedness; humanity had invaded its seclusion, with its suffering and its pity." [The limb of the tree creaks.] Yes: it is true of maxims, Just as it is true of poets, Or wise men, or nobles, Or jade. First Chinese. Drink from wise men? From jade? Is there no spring? [Turning to the negro, who has taken a jug from one of the baskets.] Fill it and return. [The negro removes a large candle from one of the baskets and hands it to the First Chinese; then takes the jug and the lantern and enters the trees to the left. The First Chinese lights the candle and places it on the ground near the water bottle.] Third Chinese. There is a seclusion of porcelain That humanity never invades. First Chinese. [With sarcasm.] Porcelain! Third Chinese. It is like the seclusion of sunrise, Before it shines on any house. First Chinese. Pooh! Second Chinese. This candle is the sun; This bottle is earth: It is an illustration Used by generations of hermits. The point of difference from reality Is this: That, in this illustration, The earth remains of one color— It remains red, It remains what it is. But when the sun shines on the earth, In reality It does not shine on a thing that remains What it was yesterday. The sun rises On whatever the earth happens to be. Third Chinese. And there are indeterminate moments Before it rises, Like this, [With a backward gesture.] Before one can tell What the bottle is going to be— Porcelain, Venetian glass, Egyptian … Well, there are moments When the candle, sputtering up, Finds itself in seclusion, [He raises the candle in the air.] And shines, perhaps, for the beauty of shining. That is the seclusion of sunrise Before it shines on any house. [Replacing the candle.] First Chinese. [Wagging his head.] As abstract as porcelain. Second Chinese. Such seclusion knows beauty As the court knew it The court woke In its windless pavilions, And gazed on chosen mornings, As it gazed On chosen porcelain. What the court saw was always of the same color, And well shaped, And seen in a clear light. [He points to the candle.] It never woke to see, And never knew, The flawed jars, The weak colors, The contorted glass. It never knew The poor lights. [He opens his book significantly.] When the court knew beauty only, And in seclusion, It had neither love nor wisdom. These came through poverty And wretchedness, Through suffering and pity. [He pauses.] It is the invasion of humanity That counts. [The limb of the tree creaks. The First Chinese turns, for a moment, in the direction of the sound.] First Chinese. [Thoughtfully.] The light of the most tranquil candle Would shudder on a bloody salver. Second Chinese. [With a gesture of disregard.] It is the invasion That counts. If it be supposed that we are three figures Painted on porcelain As we sit here, That we are painted on this very bottle, The hermit of the place, Holding this candle to us, Would wonder; But if it be supposed That we are painted as warriors, The candle would tremble in his hands; Or if it be supposed, for example, That we are painted as three dead men, He could not see the steadiest light, For sorrow. It would be true If an emperor himself Held the candle. He would forget the porcelain For the figures painted on it. Third Chinese. [Shrugging his shoulders.] Let the candle shine for the beauty of shining. I dislike the invasion And long for the windless pavilions. And yet it may be true That nothing is beautiful Except with reference to ourselves, Nor ugly, Nor high, [Pointing to the sky.] Nor low. [Pointing to the candle.] No: not even sunrise. Can you play of this [Mockingly to First Chinese.] For us? [He stands up.] First Chinese. [Hesitatingly.] I have a song Called Mistress and Maid. It is of no interest to hermits Or emperors, Yet it has a bearing; For if we affect sunrise, We affect all things. Third Chinese. It is a pity it is of women. Sing it. [He takes an instrument from one of the baskets and hands it to the First Chinese, who sings the following song, accompanying himself, somewhat tunelessly, on the instrument. The Third Chinese takes various things out of the basket for tea. He arranges fruit. The First Chinese watches him while he plays. The Second Chinese gazes at the ground. The sky shows the first signs of morning.] First Chinese. The mistress says, in a harsh voice, "He will be thinking in strange countries Of the white stones near my door, And I—I am tired of him." She says sharply, to her maid, "Sing to yourself no more." Then the maid says, to herself, "He will be thinking in strange countries Of the white stones near her door; But it is me he will see At the window, as before. "He will be thinking in strange countries Of the green gown I wore. He was saying good-by to her." The maid drops her eyes and says to her mistress, "I shall sing to myself no more." Third Chinese. That affects the white stones, To be sure. [They laugh.] First Chinese. And it affects the green gown. Second Chinese. Here comes our black man. [The Second Negro returns, somewhat agitated, with water but without his lantern. He hands the jug to the Third Chinese. The First Chinese from time to time strikes the instrument. The Third Chinese, who faces the left, peers in the direction from which the negro has come.] Third Chinese. You have left your lantern behind you. It shines, among the trees, Like evening Venus in a cloud-top. [The Second Negro grins but makes no explanation. He seats himself behind the Chinese to the right.] First Chinese. Or like a ripe strawberry Among its leaves. [They laugh.] I heard tonight That they are searching the hill For an Italian. He disappeared with his neighbor's daughter. Second Chinese. [Confidingly.] I am sure you heard The first eloping footfall, And the drum Of pursuing feet. First Chinese. [Amusedly.] It was not an elopement. The young gentleman was seen To climb the hill, In the manner of a tragedian Who sweats. Such things happen in the evening. He was Un misérable. Second Chinese. Reach the lady quickly. [The First Chinese strikes the instrument twice as a prelude to his narrative.] First Chinese. There are as many points of view From which to regard her As there are sides to a round bottle. [Pointing to the water bottle.] She was represented to me As beautiful. [They laugh. The First Chinese strikes the instrument, and looks at the Third Chinese, who yawns.] First Chinese. [Reciting.] She was as beautiful as a porcelain water bottle. [He strikes the instrument in an insinuating manner.] First Chinese. She was represented to me As young. Therefore my song should go Of the color of blood. [He strikes the instrument. The limb of the tree creaks. The First Chinese notices it and puts his hand on the knee of the Second Chinese, who is seated between him and the Third Chinese, to call attention to the sound. They are all seated so that they do not face the spot from which the sound comes. A dark object, hanging to the limb of the tree, becomes a dim silhouette. The sky grows constantly brighter. No color is to be seen until the end of the play.] Second Chinese. [To First Chinese.] It is only a tree Creaking in the night wind. Third Chinese. [Shrugging his shoulders.] There would be no creaking In the windless pavilions. First Chinese. [Resuming.] So far the lady of the present ballad Would have been studied By the hermit and his candle With much philosophy; And possibly the emperor would have cried, "More light!" But it is a way with ballads That the more pleasing they are The worse end they come to; For here it was also represented That the lady was poor— The hermit's candle would have thrown Alarming shadows, And the emperor would have held The porcelain in one hand … She was represented as clinging To that sweaty tragedian, And weeping up the hill. Second Chinese. [With a grimace.] It does not sound like an elopement. First Chinese. It is a doleful ballad, Fit for keyholes. Third Chinese. Shall we hear more? Second Chinese. Why not? Third Chinese. We came for isolation, To rest in sunrise. Second Chinese. [Raising his book slightly.] But this will be a part of sunrise, And can you tell how it will end?— Venetian, Egyptian, Contorted glass … [He turns toward the light in the sky to the right, darkening the candle with his hands.] In the meantime, the candle shines, [Indicating the sunrise.] As you say, [To the Third Chinese.] For the beauty of shining. First Chinese. [Sympathetically.] Oh! it will end badly. The lady’s father Came clapping behind them To the foot of the hill. He came crying, "Anna, Anna, Anna!" [Imitating.] He was alone without her, Just as the young gentleman Was alone without her: Three beggars, you see, Begging for one another. [The First Negro, carrying two lanterns, approaches cautiously through the trees. At the sight of him, the Second Negro, seated near the Chinese, jumps to his feet. The Chinese get up in alarm. The Second Negro goes around the Chinese toward the First Negro. All see the body of a man hanging to the limb of the tree. They gather together, keeping their eyes fixed on it. The First Negro comes out of the trees and places the lanterns on the ground. He looks at the group and then at the body.] First Chinese. [Moved.] The young gentleman of the ballad. Third Chinese. [Slowly, approaching the body.] And the end of the ballad. Take away the bushes. [The negroes commence to pull away the bushes.] Second Chinese. Death, the hermit, Needs no candle In his hermitage. [The Second Chinese snuffs out the candle. The First Chinese puts out the lanterns. As the bushes are pulled away, the figure of a girl, sitting half stupefied under the tree, suddenly becomes apparent to the Second Chinese and then to the Third Chinese. They step back. The negroes move to the left. When the First Chinese sees the girl, the instrument slips from his hands and falls noisily to the ground. The girl stirs.] Second Chinese. [To the girl.] Is that you, Anna? [The girl starts. She raises her head, looks around slowly, leaps to her feet and screams.] Second Chinese. [Gently.] Is that you, Anna? [She turns quickly toward the body, looks at it fixedly and totters up the stage.] Anna. [Bitterly.] Go. Tell my father: He is dead. [The Second and Third Chinese support her. The First Negro whispers to the First Chinese, then takes the lanterns and goes through the opening to the road, where he disappears in the direction of the valley.] First Chinese. [To Second Negro.] Bring us fresh water From the spring. [The Second Negro takes the jug and enters the trees to the left. The girl comes gradually to herself. She looks at the Chinese and at the sky. She turns her back toward the body, shuddering, and does not look at it again.] Anna. It will soon be sunrise. Second Chinese. One candle replaces Another. [The First Chinese walks toward the bushes to the right. He stands by the roadside, as if to attract the attention of anyone passing.] Anna. [Simply.] When he was in his fields, I worked in ours— Wore purple to see; And when I was in his garden I wore gold ear-rings. Last evening I met him on the road. He asked me to walk with him To the top of the hill. I felt the evil, But he wanted nothing. He hanged himself in front of me. [She looks for support. The Second and Third Chinese help her toward the road. At the roadside, the First Chinese takes the place of the Third Chinese. The girl and the two Chinese go through the bushes and disappear down the road. The stage is empty except for the Third Chinese. He walks slowly across the stage, pushing the instrument out of his way with his foot. It reverberates. He looks at the water bottle.] Third Chinese. Of the color of blood … Seclusion of porcelain … Seclusion of sunrise … [He picks up the water bottle.] The candle of the sun Will shine soon On this hermit earth. [Indicating the bottle.] It will shine soon Upon the trees, And find a new thing [Indicating the body.] Painted on this porcelain, [Indicating the trees.] But not on this. [Indicating the bottle.] [He places the bottle on the ground. A narrow cloud over the valley becomes red. He turns toward it, then walks to the right. He finds the book of the Second Chinese lying on the ground, picks it up and turns over the leaves.] Red is not only The color of blood, Or [Indicating the body.] Of a man's eyes, Or [Pointedly.] Of a girl's. And as the red of the sun Is one thing to me And one thing to another, So it is the green of one tree [Indicating.] And the green of another, Which without it would all be black. Sunrise is multiplied, Like the earth on which it shines, By the eyes that open on it, Even dead eyes, As red is multiplied by the leaves of trees. [Toward the end of this speech, the Second Negro comes from the trees to the left, without being seen. The Third Chinese, whose back is turned toward the negro, walks through the bushes to the right and disappears on the road. The negro looks around at the objects on the stage. He sees the instrument, seats himself before it and strikes it several times, listening to the sound. One or two birds twitter. A voice, urging a horse, is heard at a distance. There is the crack of a whip. The negro stands up, walks to the right and remains at the side of the road. The curtain falls slowly.] Sekundärliteratur David Happell Hsin-Fu Wand : The play realize that the Second and the Third Chinese are two personae of Stevens himself. At least, they represent two aspects of Stevens' view toward art and life. White the Second Chinese may represent Stevens the pure aesthete, the Third Chinese complements him as Stevens the humanist. |
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| 6 | 1917 | If Wallace Stevens had not viewed Chan paintings as the hanging scroll, 'White heron', the fan piece 'Winter forest' and the square album leaf 'Winter riverscape' in the Museum of Fine Arts, Boston, he had at least gazed at works similar to them. |
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| 7 | 1918 |
Stevens, Wallace. Le monocle de mon oncle. In : Others ; vol. 5, no 1 (Dec. 1918). http://dl.lib.brown.edu/pdfs/1309273668888629.pdf. III Is it for nothing, then, that old Chinese Sat tittivating by their mountain pools Or in the Yangtse studied out their beards? I shall not play the flat historic scale. You know how Utamaro's beauties sought The end of love in their all-speaking braids. You know the mountainous coiffures of Bath. Alas! Have all the barbers lived in vain That not one curl in nature has survived? Why, without pity on these studious ghosts, Do you come dripping in your hair from sleep? |
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| 8 | 1918 |
Stevens, Wallace. Le monocle de mon oncle [ID D30308]. III Is it for nothing, then, that old Chinese Sat tittivating by their mountain pools Or in the Yangtse studied out their beards? I shall not play the flat historic scale. You know how Utamaro's beauties sought The end of love in their all-speaking braids. You know the mountainous coiffures of Bath. Alas! Have all the barbers lived in vain That not one curl in nature has survived? Why, without pity on these studious ghosts, Do you come dripping in your hair from sleep? |
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| 9 | 1919 | Wallace Stevens purchased from a Boston bookstore a copy of Rev. Samuel Beal's Buddhism in China. At the end of the book's index is his notation : 'The Awakened 83'. The passage deals with the Chan Buddhist ideal of 'The Awakened'. |
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| 10 | 1921 |
Stevens, Wallace. The snow man. In : Poetry ; vol. 19 (Oct. 1921). Qian Zhaoming : Stevens makes a start at perceiving the thing itself in 'Thirteen ways'. It is in The snow man that he first succeeds in uniting the thing itself and the norhing. |
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| 11 | 1923 |
Stevens, Wallace. Six significant landscapes [ID D30307]. I An old man sits In the shadow of a pine tree In China. He sees larkspur, Blue and white, At the edge of the shadow, Move in the wind. His beard moves in the wind. The pine tree moves in the wind. Thus water flows Over weeds. II The night is of the colour Of a woman's arm: Night, the female, Obscure, Fragrant and supple, Conceals herself. A pool shines, Like a bracelet Shaken in a dance. III I measure myself Against a tall tree. I find that I am much taller, For I reach right up to the sun, With my eye; And I reach to the shore of the sea With my ear. Nevertheless, I dislike The way ants crawl In and out of my shadow. IV When my dream was near the moon, The white folds of its gown Filled with yellow light. The soles of its feet Grew red. Its hair filled With certain blue crystallizations From stars, Not far off. V Not all the knives of the lamp-posts, Nor the chisels of the long streets, Nor the mallets of the domes And high towers, Can carve What one star can carve, Shining through the grape-leaves. VI Rationalists, wearing square hats, Think, in square rooms, Looking at the floor, Looking at the ceiling. They confine themselves To right-angled triangles. If they tried rhomboids, Cones, waving lines, ellipses -- As, for example, the ellipse of the half-moon -- Rationalists would wear sombreros. Sekundärliteratur : 1972 David Happell Hsin-Fu Wand : Stevens' 'significant landscape' of the old Chinese in the pine shade projects the 'inner scene' of a man who is Taoist in his orientation through a careful selection of such details as the wind, the water, and the flowing beard. In the context of the poem, everything flows naturally – with the larkspur, the beard, and the pine tree moving in the wind and the water over the weeds. Stevens' choice of such traditional Chinese symbols in landscape paintings as the pine and the water is well justified in his poem. For the gnarled pine, a traditional symbol of longevity in Chinese paintings, underscores the 'venerable' age of the old man. The water image augments the theme of the fluidity of all living matter, as typified by the spontaneous movement of the larkspur, the pine, and the old man's beard in the wind. 1997 Qian Zhaoming : In this poem, Chinese landscape painting is represented in several ways by focus on a single point of sight ('An old man' gazing out forever at those gazing at him) ; by choice of subject of all that is most elemental in nature and in Chinese landscape painting ('a pine tree', 'larkspur', 'wind', 'water' and 'weeds', by reliance on a few simple strokes of description and by an almost monochrome tonality of gray and blue and white ('shadow' and 'blue and white') that is known to have dominated Chinese landscape painting in the eleventh to the fourteenth centuries. The poem, like the Chinese painting represents, portrays a single impression : consciousness of the unity of all created things. The style and sentiment presented a particular school – the Southern Song landscape painting. The work of this school is valued today especially for its power of illustrating obtuse and enigmatic aesthetic beliefs shared by Taoists and Chan Buddhists. One painting that matches Stevens' poem to the smallest detail is the handscroll 'A sage under a pine tree', a thirteenth-century imitation of a masterpiece attributed to Ma Yuan in the Metropolitan Museum of Art. 2003 Qian Zhaoming : If Chinese landscape painting aiming to communicate the spirit of Chan or the Dao has a traditional scene. First of all, the old man in Stevens's ekphrastic poem, as in the kind of Song landscape painting it endeavors to emulate, appears sitting in meditation, that is, in a state of active tranquility that opens the way to enlightenment. Second, the figure is shown to be perfectly in harmony with nature. Third, the flowing water in the scene is a perfect symbol of the Dao. |
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| 12 | 1924 |
Moore, Marianne. Well moused, lion. In : The Dial ; no 76 (Jan. 1924). [Review of Wallace Stevens' Harmonium. (New York : Alfred A. Knopf, 1923]. In this book, Stevens calls imagination "the will of things", "the magnificent cause of being", and demonstrated how imagination may evade "the world without imagination"… One feels, however, an achieved remoteness as in Tu Muh's [Du Mu] lyric criticism : "Powerful is the painting… and high is it hung on the spotless wall in the lofty hall of your mansion"… In his positiveness, aplomb, and verbal security, he has the mind and the method of China ; in such controversial effects as : Of what was it I was thinking ? So the meaning escapes, And certainly in dogged craftsmanship. Infinitely conscious in his processes, he says Speak even as if I did not hear you speaking But spoke for you perfectly in my thoughts. Note : Tu Muh [Du Mu] : Tang period Chinese poet whose work Marianne Moor4e had seen at the Metropolitan Museum in an exhibition of Chinese paintings, 7 April 1923. |
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| 13 | 1937 | Wallace Stevens get a Buddha image through Leonard van Geyzel. |
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Bibliography (8)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1909-1954 |
Stevens, Wallace. The letters of Wallace Stevens. Selected and edited by Holly Stevens. (New York, N.Y. : A.A. Knopf, 1966). http://books.google.ch/books?id=0e_AdnL3IYkC&pg=PA215&lpg= PA215&dq=wallace+stevens+and+china&source=bl&ots= 5jjo2wdvRD&sig=mKIuqjIuZ7slwHTbGBY-zWKf8Us&hl= de&sa=X&ei=xR_dUcSaCcGCPamcgcgO&ved=0CHEQ6A EwCTgK#v=onepage&q=china&f=false. |
Publication / SteW6 |
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| 2 | 1916 |
Stevens, Wallace. Three travelers watch a sunrise. In : Poetry ; July (1916). [Play]. http://www.bartleby.com/300/739.html. |
Publication / SteW7 |
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| 3 | 1918 |
Stevens, Wallace. Le monocle de mon oncle. In : Others ; vol. 5, no 1 (Dec. 1918). http://dl.lib.brown.edu/pdfs/1309273668888629.pdf. |
Publication / SteW15 |
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| 4 | 1923 |
Stevens, Wallace. Six significant landscapes. In : Harmonium (1923). http://www.repeatafterus.com/title.php?i=1403. |
Publication / SteW14 |
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| 5 | 1985 |
Meiguo xian dai shi xuan. Zhao Yiheng yi. (Beijing : Wai guo wen xue chu ban she, 1985). [Übersetzung amerikanischer Lyrik]. 美国现代诗选 [Enthält] : [Stevens, Wallace]. Xue zhong ren. Übersetzung von Stevens, Wallace. The snow man. In : Poetry ; vol. 19 (Oct. 1921). 雪中人 [Stevens, Wallace]. Bing qi lin da wang. Übersetzung von Stevens, Wallace. The emperor of ice-cream. In : Stevens, Wallace. Harmonium. (New York, N.Y. : A.A. Knopf, 1923). 冰淇淋大王 |
Publication / YIng10 |
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| 6 | 1989 |
[Stevens, Wallace]. Shidiwensi shi ji. Xi Meng, Shui Qin yi. (Beijing : Guo ji wen hua, 1989). (Er shi shi ji wai guo de shi ren cong shu). [Collected poems of Wallace Stevens]. 史蒂文斯文斯 |
Publication / SteW1 | |
| 7 | 1990 |
Er shi shi ji Meiguo shi xuan. Zhang Yan yi. (Shenyang : Chun feng wen yi chu ban she, 1990). (CFshi xuan xi lie). [Anthologie amerikanischer Lyrik]. 二十世纪美国诗选 [Enthält] : [Stevens, Wallace]. Xue ren. Übersetzung von Stevens, Wallace. The snow man. Übersetzung von Stevens, Wallace. The snow man. In : Poetry ; vol. 19 (Oct. 1921). 雪人 [Stevens, Wallace]. Bing qi lin huang di. Übersetzung von Stevens, Wallace. The emperor of ice-cream. In : Stevens, Wallace. Harmonium. (New York, N.Y. : A.A. Knopf, 1923). 冰淇淋皇帝 |
Publication / ZhuY1 |
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| 8 | 2009 |
[Stevens, Wallace]. Zui gao xu gou bi ji. Shidiwensi ; Chen Dongbiao, Zhang Zao. (Shanghai : Hua dong shi fan da xue chu ban she, 2009). Übersetzung von Stevens, Wallace. Notes toward a supreme fiction. (Cummington, Mass. : The Cummington Press, 1942). 最高虛构笔记 |
Publication / SteW2 |
Secondary Literature (10)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1972 | Wand, David Happell Hsin-fu [Wang, David Rafael]. Cathay revisited : the Chinese tradition in the poetry of Ezra Pound and Gary Snyder. (Los Angeles, Calif. : University of Southern California, 1972). Diss. Univ. of Southern California, 1972. | Publication / Pou97 | |
| 2 | 1974 |
Shidiwensi di shi = Comprehensive study guide to five poems by Wallace Stevens. Li Dasan [John J. Deeney], Tan Deyi zhu bian ; Yang Minjing bian ji. (Taibei : Xin Ya chu ban she, 1974). 史蒂文斯的詩 |
Publication / Dee18 |
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| 3 | 1993 | Haft, Lloyd. Snowy men and ice-cream emperors : Wallace Stevens in some recent Chinese translations. In : Words from the West : Western texts in Chinese literary context. Ed. by Lloyd Haft. (Leiden : Centre of Non-Western Studies, 1993). | Publication / SteW8 |
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| 4 | 1993 | Han, Pin Gara. Adequacy of landscape : subjectivity in Wallace Stevens's and Wang Wei's poetry. Dissertation Chinese University of Hong Kong, 1993. | Publication / SteW13 | |
| 5 | 1997 |
Qian, Zhaoming. Chinese landscape painting in Stevnes' "Six significant landscapes". In : Wallace Stevens journal ; vol. 21, issue 2 (1997). http://scholarworks.uno.edu/cgi/viewcontent.cgi?article=1008&context=engl_facpubs&sei-redir=1&referer= http%3A%2F%2Fwww.google.ch%2Furl%3Fsa%3Dt%26rct%3Dj%26q%3Dwallace%2Bstevens%2Band% 2Bchina%26source%3Dweb%26cd%3D16%26ved%3D0CFUQFjAFOAo%26url%3Dhttp%253A%252F% 252Fscholarworks.uno.edu%252Fcgi%252Fviewcontent.cgi%253Farticle%253D1008%2526context%253D engl_facpubs%26ei%3DxR_dUcSaCcGCPamcgcgO%26usg%3DAFQjCNGiuMXYrDw4C9w1PXpWteE 61f6s6w#search=%22wallace%20stevens%20china%22. |
Publication / SteW9 |
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| 6 | 2001 |
Qian, Zhaoming. Late Stevens, Nothingness, and the Orient. In : Wallace Stevens journal vol. 25, no 2 (2001). http://scholarworks.uno.edu/cgi/viewcontent.cgi?article=1009&context=engl_facpubs&sei-redir= 1&referer=http%3A%2F%2Fwww.google.ch%2Furl%3Fsa%3Dt%26rct%3Dj%26q%3Dwallace% 2Bstevens%2Band%2Bchina%26source%3Dweb%26cd%3D17%26ved%3D0CF0QFjAGOAo%26 url%3Dhttp%253A%252F%252Fscholarworks.uno.edu%252Fcgi%252Fviewcontent.cgi%253 Farticle%253D1009%2526context%253Dengl_facpubs%26ei%3DxR_dUcSaCcGCPamcgcgO% 26usg%3DAFQjCNH28Vakh6egJUT2wNK3HyV7LvULfw#search=%22wallace%20stevens%20china%22. |
Publication / SteW11 | |
| 7 | 2003 |
Qian, Zhaoming. The modernist response to Chinese art : Pound, Moore, Stevens. (Charlottesville : University of Virginia Press, 2003). http://books.google.ch/books/about/The_Modernist_Response_to_Chinese_ Art.html?id=S0AHhe2a0NoC&redir_esc=y. |
Publication / SteW10 | |
| 8 | 2007 |
Huang, Xiaoyan. Supreme fiction : the poetics of Wallace Stevens. = Hualaishi Shidiwensi shi xue yan jiu. (Hunan : Hunan ren min chu ban she, 2007). (Xin ren wen hua yu cong shu). 华莱士史蒂文斯诗学研究 |
Publication / SteW3 | |
| 9 | 2007 |
Huang, Xiaoyan. Guo jia she ke ji jin ke ti de jie duan xing cheng guo zhi yi. In : Wai guo wen xue yan jiu bian wei jie shao ; Issue 3 (2007). [The influence of Chinese culture on the poetry of Wallace Stevens]. http://qkzz.net/article/8fde20ea-4c99-4302-a746-788ab154769a.htm. 国家社科基金课题的阶段性成果之一 |
Publication / SteW4 |
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| 10 | 2009 | Zuber, Devin. "Poking around in the dust of Asia" : Wallace Stevens, modernism, and the aesthetics of the East. In : Orient and Orientalisms in US-American poetry and poetics. Sabine Sielke, Christian Kloeckner (eds.). (Frankfurt a.M. : Land, 2009). | Publication / SteW12 |
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