1. ‘Death is the mother of beauty’: Wallace Stevens’ Harmonium
- Author
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Scott Freer
- Subjects
Perspectivism ,Harmony (color) ,Psychoanalysis ,Poetry ,Aesthetics ,Philosophy ,media_common.quotation_subject ,Beauty ,Belief in God ,Musical instrument ,Natural order ,Consciousness ,media_common - Abstract
If a single poetic line encapsulates the mythopoeic motive in Wallace Stevens’ Harmonium (1923) it is: ‘Death is the mother of beauty’.1 It is evidence that Stevens had adopted Nietzsche’s tragic view of nature — ‘death’ signals the dissolution of the gods and beauty is a form of aesthetic salvation. In other words, death consciousness is the primary breeder of a secular, redemptive aesthetic. The title to Stevens’ first poetry collection, Harmonium, is a significant clue to the intermediate perspective that Stevens upholds as a necessary substitute for the loss of belief in God. In referring to a musical instrument (a type of reed organ), Stevens invokes the theme of Dionysian folk wisdom, so underscoring the spiritual quest for harmony, the balanced interplay, between human artifice and an anarchic impulse that concords with a godless natural order. For various critics, ‘perspectivism’ is seen to be key to the collection, implying there is no fixed point of view regarding a suitable art form for imagining a chaotic, godless, natural world.2 For example, William W. Bevis argues that the arrangement of Harmonium consists of antitheses, contradictions and subtle deflections of points of view, implying the dominant idiom is premised on perspectivism.3 However, I argue that Stevens moves through various ‘demonstrations’ of aesthetic conceptions, in order to arrive at a suitable post-religious metaphysic.4
- Published
- 2015
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