Skip to end of metadata
Go to start of metadata

Vendler takes from section thirteen a feeling of apprehension and menace, and presents the idea that these emotions stem from "the eccentric (thirteen) as the base of design." Also, Vendler notes that the poem's ending is impersonal, as its beginning. She is careful, too, to mention (in reference to her explication of each section) that "These are the life issues of the poem, but they are not the poem" (14-5).

McNamara recognizes in the final section of Stevens' poem a solemn, defeated tone, as the poet describes an existence hastening to a premature end ("It was evening all afternoon,") and unable or unwilling to live life or see reality (the blackbird [sitting]/ In the cedar-limbs,") through an obscuring snowfall. Certainly Stevens' bleak imagery of a snowy dusk through which a lone blackbird sits in a tree lends itself to this somber tone, of which McNamara attributes to the poet's "overwhelming sense of futility" in his attempt to "shake his unfeeling fellow humans from their lethargy" (448).

Lewis writes that section thirteen of Stevens' poem is an extraordinarily pure example of Imagism, tarnished only by its lack of composition "in the sequence of the musical phrase" (82).

In her analysis, Bogen mentions of the last section the inclusion of kigo through the indication of a winter setting. Bogen also takes note of what she calls a "three line sense unit." Both of these elements make the poem's final section comparable to haiku (Bogen, 217).

  • No labels