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Vendler's analysis takes note of section five as examining the ambivalence between experience (including song) and its reverberations (12).

In section five, McNamara sees the poet torn between giving precedence to the importance of surface beauty (the blackbird singing,) or the deeper analysis of this beauty which follows (447). Lewis, meanwhile, notes that the section "is chiefly an auditory image." Lewis is, however, careful to mention that "one might protest that V is merely about images to the ear," rather than an actual depiction of sound (70).

Section five is, essentially, Stevens contemplating the validity of his craft, as he sees beauty in both direct experience and observation, as well as the interpretation that follows. It becomes apparent, however, in examining the source of the speaker's internal debate, that beauty, regardless of form, must be appreciated. So long as the reader is attentive to the beauty of the surrounding world, whether in nature, in poetry or otherwise, the validity of form is an afterthought. One may also note, however, that this section presents a unique twist of the conventional thought that the greatest pleasure lies in the anticipation of an occurrence, and that once it is achieved it immediately becomes less gratifying to the psyche.

Bogen connects section five to haiku through what she finds in it to be "unrelated images," known as renso in haiku terminology. Although the fifth section is clearly comprised of more than three lines, Bogen's article notes the presence of a "three line sense unit" (217).

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