{"title":"史蒂文斯的土壤:智力、概念启示和超越天才","authors":"Andrew Osborn","doi":"10.1353/wsj.2023.a910916","DOIUrl":null,"url":null,"abstract":"Stevens’s Soil: Intelligence, Conceptual Affordances, and the Genius Beyond Andrew Osborn HEARKENING BACK to Harmonium at a hundred, one comes to “The Comedian” at the numeral C. Although the long poem’s transatlantic odyssey has now circled the sun a century, its bounds remain two notes-to-self: “man is the intelligence of his soil” and “his soil is man’s intelligence” (CPP 22, 29). The latter, Crispin confides, is “better,” “worth crossing seas to find” (CPP 29). But how so? And why soil? From the opening lines of the first and fourth of six cantos—that is, from the poem’s very beginning and its midpoint—the two claims demand to be contrasted and often are. Few of the many scholars who have offered readings of Harmonium’s longest poem over the century since its first publication fail to juxtapose them. Glosses have often been minimal or demonstrably inaccurate, however. Helen Vendler set a precedent for permissible brevity when she classified both as “epigram[s]” among the occasional “simplicities” that punctuate the poem’s “erratic gothic harmonies” and “coruscations” (On Extended Wings 39). While the maxims may appear less in need of explication than most of the poem’s surrounding language, the revised version defies simple restatement, and attempts to paraphrase it differ substantially. Because Stevens confined his use of soil as a noun to Harmonium—excepting two trivial instances in later-excised cantos of the very limited edition of Owl’s Clover published in 1936 by Alcestis Press—the word offers itself as ready ground for digging into how his first book’s forms of intelligence introduce yet differ from the genius that followed. Stevens’s soil is also a fertile site for exploring the extent of his materialism. Proceeding for the most part chronologically, I will show that soil for Stevens is importantly local and elemental, available for cultivation and settlement, a stable conceptual repository. As that last phrase suggests, because our reality is always phenomenal, mediated by the parts of speech we employ both to make sense of it and to imagine what may not be before us at the time, the images that we call world and the images that we call words intermingle. I take Crispin at his word when he equates “his soil” and “man’s intelligence,” and I seek to understand what this equation could mean, how it works, and what it implies for other matters of [End Page 164] Stevensian interest. Looking back from the early twenty-first century, I see my sifting of Stevens’s soil anticipated by the children of “A Postcard from the Volcano.” I find evidence that two decades before stating the “intimidating thesis” of “The Figure of the Youth as Virile Poet,” Stevens had all but convinced himself in “The Comedian” and another late Harmonium inclusion “that absolute fact includes everything that the imagination includes” (CPP 681). One may think of Crispin’s two maxims as tweezers pinching reality and the imagination together way back then. Related to this tensed conflation is the horizontal soil-intelligence relationship, which may seem to deflate intelligence. Doing so helps one to recognize that genius for Stevens differs. Poetic genius is more essential to human character than intelligence while the genius of another element, be it land or sea or air, is beyond our ken. Although his poetry is characterized by what John Serio has called “Stevens’ ‘Affair of Places,’” the author of Harmonium is not one to personify the spirit of a place as a genius loci. I Within many of even the most compelling accounts of “The Comedian as the Letter C” arise two commonplaces regarding soil that, it seems to me, should be less common. First: soil is often read as a synecdoche for all matter, Crispin’s environment or milieu, the external world, reality at large. Second: Crispin’s revised maxim is often described as a reversal such that soil assumes the agency (as a determining factor or source of imagination) that intelligence had initially seemed to have. It is not evident that the former reading is wrong; it is merely questionable to a degree that I have been surprised to find no one...","PeriodicalId":40622,"journal":{"name":"WALLACE STEVENS JOURNAL","volume":"143 1","pages":"0"},"PeriodicalIF":0.1000,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Stevens’s Soil: Intelligence, Conceptual Affordances, and the Genius Beyond\",\"authors\":\"Andrew Osborn\",\"doi\":\"10.1353/wsj.2023.a910916\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Stevens’s Soil: Intelligence, Conceptual Affordances, and the Genius Beyond Andrew Osborn HEARKENING BACK to Harmonium at a hundred, one comes to “The Comedian” at the numeral C. Although the long poem’s transatlantic odyssey has now circled the sun a century, its bounds remain two notes-to-self: “man is the intelligence of his soil” and “his soil is man’s intelligence” (CPP 22, 29). The latter, Crispin confides, is “better,” “worth crossing seas to find” (CPP 29). But how so? And why soil? From the opening lines of the first and fourth of six cantos—that is, from the poem’s very beginning and its midpoint—the two claims demand to be contrasted and often are. Few of the many scholars who have offered readings of Harmonium’s longest poem over the century since its first publication fail to juxtapose them. Glosses have often been minimal or demonstrably inaccurate, however. Helen Vendler set a precedent for permissible brevity when she classified both as “epigram[s]” among the occasional “simplicities” that punctuate the poem’s “erratic gothic harmonies” and “coruscations” (On Extended Wings 39). While the maxims may appear less in need of explication than most of the poem’s surrounding language, the revised version defies simple restatement, and attempts to paraphrase it differ substantially. Because Stevens confined his use of soil as a noun to Harmonium—excepting two trivial instances in later-excised cantos of the very limited edition of Owl’s Clover published in 1936 by Alcestis Press—the word offers itself as ready ground for digging into how his first book’s forms of intelligence introduce yet differ from the genius that followed. Stevens’s soil is also a fertile site for exploring the extent of his materialism. Proceeding for the most part chronologically, I will show that soil for Stevens is importantly local and elemental, available for cultivation and settlement, a stable conceptual repository. As that last phrase suggests, because our reality is always phenomenal, mediated by the parts of speech we employ both to make sense of it and to imagine what may not be before us at the time, the images that we call world and the images that we call words intermingle. I take Crispin at his word when he equates “his soil” and “man’s intelligence,” and I seek to understand what this equation could mean, how it works, and what it implies for other matters of [End Page 164] Stevensian interest. Looking back from the early twenty-first century, I see my sifting of Stevens’s soil anticipated by the children of “A Postcard from the Volcano.” I find evidence that two decades before stating the “intimidating thesis” of “The Figure of the Youth as Virile Poet,” Stevens had all but convinced himself in “The Comedian” and another late Harmonium inclusion “that absolute fact includes everything that the imagination includes” (CPP 681). One may think of Crispin’s two maxims as tweezers pinching reality and the imagination together way back then. Related to this tensed conflation is the horizontal soil-intelligence relationship, which may seem to deflate intelligence. Doing so helps one to recognize that genius for Stevens differs. Poetic genius is more essential to human character than intelligence while the genius of another element, be it land or sea or air, is beyond our ken. Although his poetry is characterized by what John Serio has called “Stevens’ ‘Affair of Places,’” the author of Harmonium is not one to personify the spirit of a place as a genius loci. I Within many of even the most compelling accounts of “The Comedian as the Letter C” arise two commonplaces regarding soil that, it seems to me, should be less common. First: soil is often read as a synecdoche for all matter, Crispin’s environment or milieu, the external world, reality at large. Second: Crispin’s revised maxim is often described as a reversal such that soil assumes the agency (as a determining factor or source of imagination) that intelligence had initially seemed to have. It is not evident that the former reading is wrong; it is merely questionable to a degree that I have been surprised to find no one...\",\"PeriodicalId\":40622,\"journal\":{\"name\":\"WALLACE STEVENS JOURNAL\",\"volume\":\"143 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2023-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"WALLACE STEVENS JOURNAL\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1353/wsj.2023.a910916\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"POETRY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"WALLACE STEVENS JOURNAL","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/wsj.2023.a910916","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"POETRY","Score":null,"Total":0}
引用次数: 0
摘要
史蒂文斯的《土壤:智慧、概念上的支持和超越的天才》安德鲁·奥斯本回到《和谐》,读到“喜剧演员”的数字c。尽管这首长诗的跨大西洋之旅现在已经绕太阳转了一个世纪,但它的界限仍然是两个自我注解:“人是土壤的智慧”和“土壤是人的智慧”(CPP 22,29)。Crispin透露,后者“更好”,“值得漂洋过海去寻找”(CPP 29)。但为什么呢?为什么是土壤?从六章的第一章和第四章的开头,也就是说,从诗的开头和中间,这两句话需要被对比,而且经常被对比。自哈莫里姆首次出版以来的一个世纪里,许多学者朗读了哈莫里姆最长的诗歌,很少有人不把它们并列在一起。然而,光泽往往是最小的或明显不准确的。海伦·文德勒开创了一个允许简洁的先例,她把这两首诗都归类为“警句”,在偶尔出现的“简洁”中,点缀着诗歌“飘忽不定的哥特式和声”和“闪烁”(《展翅》39)。虽然这些格言似乎不像诗中的大部分语言那样需要解释,但修订后的版本拒绝简单的重述,并试图对其进行大不相同的解释。由于史蒂文斯将土壤作为名词的使用局限于harmoni(除了后来在阿尔塞蒂斯出版社1936年出版的猫头鹰的三叶草限量版中被删节的两个小例子),这个词本身就为深入研究他的第一本书中智慧的形式与后来的天才有何不同提供了一个准备好的基础。史蒂文斯的土壤也是探索他的唯物主义程度的沃土。按照时间顺序,我将展示,对史蒂文斯来说,土壤是重要的地方和元素,可用于耕种和定居,是一个稳定的概念库。正如最后一句话所暗示的那样,因为我们的现实总是现象性的,通过我们用来理解它和想象当时可能不在我们面前的东西的语言部分来调解,我们称之为世界的图像和我们称之为文字的图像混合在一起。当Crispin把“他的土壤”和“人类的智力”等同起来时,我相信他的话,我试图理解这个等式可能意味着什么,它是如何运作的,以及它对史蒂文森感兴趣的其他问题意味着什么。从21世纪初回望过去,我看到了《来自火山的明信片》(A明信片from the Volcano)的孩子们所期待的我对史蒂文斯土壤的筛选。我发现有证据表明,在提出“令人生畏的论点”《青年作为阳刚诗人的形象》的20年前,史蒂文斯几乎在《喜剧演员》(the comedy)和《Harmonium》后期的另一部作品中说服了自己,“绝对事实包含了想象所包含的一切”(CPP 681)。人们可能会认为Crispin的两条格言是镊子,把现实和想象夹在一起。与这种紧张的合并相关的是水平土壤与智力的关系,这似乎会降低智力。这样做有助于人们认识到史蒂文斯的天才是不同的。诗的天赋比智慧更重要,而其他元素的天赋,无论是陆地、海洋还是空气,都超出了我们的理解范围。虽然他的诗歌具有约翰·塞里奥所说的“史蒂文斯的‘地方事件’”的特点,但《和谐》的作者并不是一个将一个地方的精神拟人化为天才场所的人。在许多关于《作为字母C的喜剧演员》的最引人注目的叙述中,出现了两个关于土壤的常见说法,在我看来,这些说法应该不那么常见。首先,土壤通常被解读为所有物质的喻意,包括Crispin所处的环境或环境、外部世界和整个现实。第二,Crispin修订后的格言经常被描述为一种逆转,即土壤假定了智力最初似乎拥有的代理(作为一种决定性因素或想象力的来源)。显然,前一种解读是错误的;在某种程度上,我惊讶地发现没有人……
Stevens’s Soil: Intelligence, Conceptual Affordances, and the Genius Beyond
Stevens’s Soil: Intelligence, Conceptual Affordances, and the Genius Beyond Andrew Osborn HEARKENING BACK to Harmonium at a hundred, one comes to “The Comedian” at the numeral C. Although the long poem’s transatlantic odyssey has now circled the sun a century, its bounds remain two notes-to-self: “man is the intelligence of his soil” and “his soil is man’s intelligence” (CPP 22, 29). The latter, Crispin confides, is “better,” “worth crossing seas to find” (CPP 29). But how so? And why soil? From the opening lines of the first and fourth of six cantos—that is, from the poem’s very beginning and its midpoint—the two claims demand to be contrasted and often are. Few of the many scholars who have offered readings of Harmonium’s longest poem over the century since its first publication fail to juxtapose them. Glosses have often been minimal or demonstrably inaccurate, however. Helen Vendler set a precedent for permissible brevity when she classified both as “epigram[s]” among the occasional “simplicities” that punctuate the poem’s “erratic gothic harmonies” and “coruscations” (On Extended Wings 39). While the maxims may appear less in need of explication than most of the poem’s surrounding language, the revised version defies simple restatement, and attempts to paraphrase it differ substantially. Because Stevens confined his use of soil as a noun to Harmonium—excepting two trivial instances in later-excised cantos of the very limited edition of Owl’s Clover published in 1936 by Alcestis Press—the word offers itself as ready ground for digging into how his first book’s forms of intelligence introduce yet differ from the genius that followed. Stevens’s soil is also a fertile site for exploring the extent of his materialism. Proceeding for the most part chronologically, I will show that soil for Stevens is importantly local and elemental, available for cultivation and settlement, a stable conceptual repository. As that last phrase suggests, because our reality is always phenomenal, mediated by the parts of speech we employ both to make sense of it and to imagine what may not be before us at the time, the images that we call world and the images that we call words intermingle. I take Crispin at his word when he equates “his soil” and “man’s intelligence,” and I seek to understand what this equation could mean, how it works, and what it implies for other matters of [End Page 164] Stevensian interest. Looking back from the early twenty-first century, I see my sifting of Stevens’s soil anticipated by the children of “A Postcard from the Volcano.” I find evidence that two decades before stating the “intimidating thesis” of “The Figure of the Youth as Virile Poet,” Stevens had all but convinced himself in “The Comedian” and another late Harmonium inclusion “that absolute fact includes everything that the imagination includes” (CPP 681). One may think of Crispin’s two maxims as tweezers pinching reality and the imagination together way back then. Related to this tensed conflation is the horizontal soil-intelligence relationship, which may seem to deflate intelligence. Doing so helps one to recognize that genius for Stevens differs. Poetic genius is more essential to human character than intelligence while the genius of another element, be it land or sea or air, is beyond our ken. Although his poetry is characterized by what John Serio has called “Stevens’ ‘Affair of Places,’” the author of Harmonium is not one to personify the spirit of a place as a genius loci. I Within many of even the most compelling accounts of “The Comedian as the Letter C” arise two commonplaces regarding soil that, it seems to me, should be less common. First: soil is often read as a synecdoche for all matter, Crispin’s environment or milieu, the external world, reality at large. Second: Crispin’s revised maxim is often described as a reversal such that soil assumes the agency (as a determining factor or source of imagination) that intelligence had initially seemed to have. It is not evident that the former reading is wrong; it is merely questionable to a degree that I have been surprised to find no one...