In section ten, Vendler notes "aesthetic effect as commanding even its opponents." She also mentions a possible link between a line from this section and another text, stating "'Even the ranks of Tuscany / Could scarce forbear to cheer' (Macaulay, "Horatius" 359) probably lies behind 'Even the bawds of euphony / Would cry out sharply'" (13).
In section ten McNamara acutely perceives the image of "blackbirds/ Flying in a green light" as the illumination of reality and understands the significance of green to be indicative of the "vital force in nature which brings about harmony." For McNamara, Stevens shows that this illumination of reality would have great effect, as "even those of us who are 'bawds of euphony,' who seek truth in soporific visions, dreams, or hopes of eternal life, would be jolted out of our misconceptions" (447).
Lewis describes Stevens' tenth section as being "a complex image of multiple super-positions: black upon ('in') green, euphony upon cacophony ('cry...sharply')." Lewis cites this section as to exemplify Stevens as "the most colorful of Imagists" (76).
Bogen notes of section ten the possibility that Stevens' mention of a "green light" may be an allusion to spring, in which case it would liken to haiku through the presence of kigo. She also notes of the section's final two lines "a possible Zen-like leap," which she finds is indicative of satori (Bogen, 217).