The author, Wallace Stevens, led a life that was more likely related to the jar rather than the wilderness. And this meditation resulted in one of his most successful and popular poems. The jar was gray and bare. It did not give of bird or bush, Like nothing else in Tennessee. The student, eager to learn, says: Oh please Master, tell me what it is! Since this is a poem by the famously complex , we can't help but think about the life of the poem's author as this empty jar and the wilderness interact. The wilderness rose up to it, And sprawled a round, no longer wild.
The jar was gray and bare. The jar was round upon the ground And tall and of a port in air. All of these various uses of sound let the reader know that the choice to use these specific words was very deliberate and not merely by chance. Against Lentricchia I would argue that the poem is neither for nor against the jar, and that a political context that includes our forefathers' slaughter of the Indians who lived in the Cherokee village for which Tennessee is named is not particularly helpful in our understanding of the wilderness. The Master replies: You still stink of Zen.
The wilderness rose up to it, And sprawled around, no longer wild. Solving the Puzzle Anecdote of the Jar by Wallace Stevens has been puzzling readers for nearly a century. I placed a jar in Tennessee, And round it was, upon a hill. From Early Stevens: The Nietzchean Intertext. While Anecdote of the Jar doesn't rhyme in the traditional sense, Stevens does play with the sounds of the words in the poem.
Those are big questions, one we bet you'd be interested in asking too. If objects are events as Whitehead says, they are events that mediate between the body of the seer and the world, events that carry that body into the world and the world into that body. Events happen around them but there is a trust and a genuineness in their actions, in their positioning against the world that can be relied on. The jar was gray and bare. This experiment was well known in Steven's time.
This poem is basically about the relationship between an everyday, commercial jar and the wilderness surrounding it. The jar was gray and bare. One reason for that might have been how relatively late in life Stevens began to publish. This is a striking expression of the power of the imagination over reality. This is easily heard in line 7, The jar was round upon the ground. The poem contains a number of particularly inscrutable lines. And in the end, by asserting the jar's alien presence in a readily apprehended world of bird and bush, the instigator of this epistemological exercise unmasks a naive empiricism that lies behind the more official perspectivist stance of the poem.
In the final stanza, Stevens uses the only instance of alliteration bare, bird, and bush , which creates a contrast with the rest of the poem and urges the reader to contemplate those lines. However, there is one thing. As a lawyer and a businessman, Stevens worked with insurance not exactly stunt-driver territory. The jar then becomes, perhaps, a symbol for the human imagination, in that man can only hope to capture the glorious brilliance of nature temporarily, or reflect it in a distorted inadequate form. The persona of the poem tells us that the man made jar caused the wilderness to surround the hill, or that the hill looked more untidy in contrast to the jar.
The poem, that is, has it both ways--the character of reality is a creation of perspectival seeing and ordering; the character of reality as a given exposes the artificiality of any given perspective. It made the slovenly wilderness Surround that hill. The wilderness rose up to it, And sprawled around, no longer wild. The glass of a jar would feel in our hands. The jar was gray and bare.
What is significant here is that this is not a rejection of ownership —indeed it expresses land-hunger — but a relinquishment of an inferior category of ownership for a superior, more active one. He graduated from Harvard and New York Law School, and his professional accomplishments include his work in the legal field as well as the literary world. Or is it, on the other hand, to be considered a worthy example of utilitarian design? The jar seems to infect everything around it, and removes the very wildness that makes the natural world what it is. The jar was round upon the ground And tall and of a port in air. More likely though, this is a general representation of the transition of the world from something completely natural to something more focused on man-made structures and engineering. The jar may overpower the wilderness, but the wilderness still has the power of growth and procreation, which the jar will never have. However, in the final stanza, the tone changes.
It did not give of bird or bush, Like nothing else in Tennessee. Autoplay next video I placed a jar in Tennessee, And round it was, upon a hill. Or is it, on the other hand, to be considered a worthy example of utilitarian design? It is the nature of the readymade to inspire these questions without resolving them. The jar was round upon the ground And tall and of a port in air. Yet, particularly in his later years, the wilderness of creativity stole back some power from the boring old jar that was his workaday existence.