Classic and Contemporary Poetry: Explained

Wallace Stevens’ poem "Anything Is Beautiful If You Say It Is" presents a playful yet profound meditation on the nature of perception, beauty, and language. The title itself is a declarative assertion that sets the tone for the poem’s exploration of subjective aesthetics. Through its whimsical structure, fragmented voices, and juxtaposition of everyday imagery with heightened expression, the poem invites readers to consider the malleability of beauty and the power of language to shape how we perceive the world.

The opening lines introduce a curious scene: "Under the eglantine / The fretful concubine / Said, ?Phooey! Phoo!?" The setting, evoked by the delicate eglantine flower, is immediately contrasted with the brusque dismissiveness of the concubine?s exclamation. This jarring juxtaposition establishes a tension between beauty and dissatisfaction, suggesting that even in a setting traditionally associated with romance or delicacy, individual perception can dictate whether something is experienced as beautiful or not. The concubine’s frustration, expressed in the near nonsensical utterances "Phooey!" and "Pfui!" emphasizes the subjective and often arbitrary nature of human reactions.

The poem continues with a chorus of voices: "The demi-monde / On the mezzanine / Said, ?Thooey!? too." This layering of perspectives enriches the poem’s exploration of subjectivity. The "demi-monde," referring to those on the fringes of respectability, contributes an air of irreverence and skepticism. The setting shifts to a mezzanine, a space suspended between floors, symbolizing a liminal state of being or perception. The voices of the demi-monde echo the concubine’s dissatisfaction, creating a collective mood of discontent that contrasts with the beauty of the scene described.

As the poem progresses, Stevens introduces the figure of the bee and the sweetness of the "honey-hive-o," suggesting a counterpoint to the earlier expressions of disdain. The bee, a natural emblem of productivity and beauty, finds sweetness in the eglantine. This juxtaposition highlights the relativity of perception: while the human characters are discontented, the bee finds sustenance and fulfillment. This shift underscores one of the poem’s central themes—beauty is not inherent but dependent on the observer?s perspective.

The imagery becomes increasingly surreal as Stevens describes "mignon, marblish glare" and "metal grapes." These objects, with their artificial and metallic qualities, contrast with the natural imagery of flowers and bees. The parrots’ cry of "We are cold" adds another layer of commentary, suggesting that even in settings designed to evoke beauty or sophistication, there can be a sense of alienation or discomfort. The artificiality of the chandeliers and their light seems insufficient to provide warmth or satisfaction, further complicating the poem’s exploration of beauty.

Stevens then shifts to a more personal and reflective tone: "I love the metal grapes. / The rusty, battered shapes / Of the pears and of the cheese." Here, the speaker embraces the imperfections and artifice of the objects described. The "rusty, battered shapes" are celebrated rather than derided, suggesting that beauty can be found in decay, imperfection, and the mundane. This moment reinforces the poem’s assertion that beauty is a matter of perspective and affirmation—what one chooses to see and value.

The final lines of the poem anchor this theme in the everyday: "And the window’s lemon light. / The very will of the nerves. / The crack across the pane. / The dirt along the sill." These images, rooted in the domestic and ordinary, underscore the idea that beauty is not confined to traditionally aesthetic objects or experiences. Instead, it resides in the act of noticing, the "will of the nerves" that transforms cracks and dirt into elements of a meaningful tableau. The emphasis on the sensory—light, touch, texture—grounds the poem in the physical world, celebrating the beauty of lived experience in all its imperfection.

Structurally, the poem’s fragmented, almost conversational style mirrors its thematic focus on subjectivity and variability. The shifts in voice, tone, and imagery create a kaleidoscopic effect, reflecting the multiplicity of perspectives that contribute to the construction of beauty. The playful language, with its "Phooeys" and "Hey-de-i-do?s," injects a sense of whimsy, reminding readers that the act of perceiving beauty is as much about joy and creativity as it is about seriousness or profundity.

In "Anything Is Beautiful If You Say It Is," Stevens challenges conventional notions of beauty, rejecting the idea that it resides in the object itself. Instead, he celebrates the power of perception and language to shape our experience of the world. Through its playful yet incisive exploration of aesthetics, the poem invites readers to reconsider their own definitions of beauty and to embrace the transformative potential of seeing, naming, and affirming the world around them.

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