As such, it abounds in imagery. Though the imagery is rich and detailed, it is not lush in the traditional manner of poems to spring.
On "Spring and All" James E. We follow the thrust of his imagination downward, through obstacles, to a new union with the physical environment. The progression in the poem is literally downward: The panoramic view, with its prospect of "muddy fields," dried weeds, "patches of standing water," offers nothing with which the imagination might joyously connect itself.
At first an apparently blank and "lifeless" nature invites the observer to passivity and despair; but Williams pushes through vacancy to uncover dormant life. Implicitly, "By the road" argues that Eliot's despair derives from his cosmopolitanism, his detachment from a locality.
What the tenacious observer here finally perceives is no "waste" land but a "new world" and he makes his discovery by narrowing and focusing Whitman's panoramic vision upon the near and the ordinary. In the torpor of ordinary consciousness, what we find by the road to the contagious hospital is a desolate landscape.
Hence poet and landscape are gradually identified--as he too grips down and begins to awaken. From William Carlos Williams: Copyright by James E. John Hollander This is a poem of discovery, of the gradual emergence of the sense of spring from what looks otherwise like a disease of winter.
The "contagious hospital" is both a colloquial usage, by doctors and patients, for the longer name, and a hospital that is itself contagious, that leaks its presence out onto the road. The cold wind will be revealed as a spring wind, but not before the poem's complex act of noticing has been completed.
But the next line discovers its mere adjectival use, appositively with "mottled," and the hopefulness of upward motion, the brief bit of visual and perhaps spiritual ascendancy is undercut by the bleakness of the wintry scene, and the totality of the non-greenness, even the exclusion of available blue.
For the buds of spring do indeed look, at first, like tumorous nastinesses of the branch. But the poem moves toward the avowal of the discovery: In its moralization, the poem is like "The Red Wheelbarrow," a manifesto about poetry.
It is full of light, too, which it does not directly confront, the light that, as a younger poet has put it "wipes each thing to what it is,'' the light that takes us past what Stevens called "the evasions of metaphor. Put together from fragments of assertion, it has virtually no rhetorical sound.
Beyond, the waste of broad, muddy fields brown with dried weeds, standing and fallen "Blue" in the second line might be nominal, and the surge of azure sky might be a too-easily gained sign of spring; the enjambment pulls it back into adjectival status, paired with, and half-modifying, "mottled.
Two Senses of Poetic Form. Peter Schmidt As the poem begins "on the road to the contagious hospital," Williams has difficulty seeing any outline or order: His problems culminate in the third stanza, where inexact adjectives, often afflicted with the suffixes "-ish" or "-y," glut an entire line before a noun can be found.
And even then the noun is imprecise: As "one by one objects are defined by the advancing season, however, Williams' language is also reborn, and he can identify the wildcarrot, the only named species in the poem.
His battle to see and to name has a "stark dignity" equal to spring's battle with winter, or a chicory's battle to create light from darkness.
Like the plants, the poet's mind must "grip down," struggling to wrest a name from anonymity, The right name is a strong root; new poetry, and a new world, will grow from it as invincibly as the wildcarrot leaf uncurls, "Spring and All" shows that Williams' pastoral lyrics use an archetypal plot borrowed from and Biblical myth: In the Bible, of course, such an advent signifies the end of history, whereas in Vergil inaugurates yet another historical cycle.
Williams well represents romanticism's distinctive revision of this myth. The large historical cycles between Iron and Golden Ages, or Old Adam and New Messiah, are internalized and speeded up; the rebirth experienced in "Spring and All" is continually lost, found, and lost again.
Williams and the Precisionists. Frye Williams' Spring and All begins with a straight-forward set of impressions in a poem that moves into a quickened vision, by way of imagination, of what is stirring into being beneath the surface.
The first four stanzas of poem I, quoted above, consist of a succession of what Kenneth Burke, in a well-known instance, called "minute fixations"; but those serried minutiae that follow in the stanzas thereafter are much more than the resolute observations of a connoisseur of perception In stanza five a subtle change in tone signals a shift in perspective: This "second phase" constitutes a kind of clarified vision on the part of the mind within whose field of consciousness the scene appears that develops over the first four stanzas.
Poem I, like the poems that follow it in Spring and All, represents among other of Williams' assignments a conscious attempt to externalize the form of the mind's perceptual intake of sense-experience.The Beat Generation was a literary movement started by a group of authors whose work explored and influenced American culture and politics in the post-World War II era.
The bulk of their work was published and popularized throughout the s. poems - Find the best poems by searching our collection of over 9, poems by classic and contemporary poets, including Maya Angelou, Emily Dickinson, Robert Frost, Juan Felipe Herrera, Langston Hughes, Sylvia Plath, Edgar Allan Poe, William Shakespeare, Walt Whitman, and more.
You can even find poems by occasion, theme, and form. The famous opening poem of Spring and All, later titled "Spring and All," epitomizes the physician's vision as poet's vision, while exemplifying the themes and techniques Williams explores throughout the book.
he ethnographic reading of William Carlos Williams’s poem “To Elsie” in Spring and All, first launched two decades ago by the anthropologist James Clifford, still holds up as a fitting interpretation.
a Whitmanesque American epic, and Wallace Stevens, a lush and sensuous writer who made an astonishing literary debut with the poems collected in Harmonium ().
Another opponent of Eliot was William Carlos Williams, who invested his experimental prose and magically simple lyrics—in works such as Spring and All ()—with the. William Carlos Williams opens his poem “Spring and All” with a diseased hospital, setting the scene for an image of grotesque humanity in order to contrast against the beauty of emerging nature in spring.