Classic and Contemporary Poetry: Explained

Wallace Stevens’ "Late Hymn from the Myrrh-Mountain" is a reflective and richly symbolic poem that explores themes of impermanence, artifice, and the shifting relationship between nature, time, and human perception. Through vivid imagery and a meditative tone, Stevens captures the transient beauty of the natural world and the subtle transformations wrought by memory, art, and awareness.

The poem opens with a striking call to action: "Unsnack your snood, madanna, for the stars / Are shining on all brows of Neversink." The imperative "unsnack your snood" suggests a shedding of ornamentation or restraint, inviting an embrace of the natural world in its raw and unadorned state. The mention of "Neversink" grounds the celestial in a specific, earthly locale, juxtaposing the vastness of the stars with the intimate act of observing them. The invocation of "madanna" imbues the moment with a sense of reverence, as though addressing a figure who embodies the sacred within the ordinary.

The imagery of the "green bird of summer" that "has flown / Away" introduces a motif of seasonal change and loss. The bird, a symbol of vitality and the fleeting nature of life, leaves behind "night-flies" that "acknowledge these planets." This transition from the vibrant bird to the more subdued and nocturnal flies underscores the inevitability of change and the cyclical rhythms of nature. The flies’ acknowledgment of the planets ties the earthly and celestial together, emphasizing the interconnectedness of all things within the cosmos.

The lines "Predestined to this night, this noise and the place / Of summer. Tomorrow will look like today" meditate on the recurring patterns of time. While tomorrow "will appear like it," Stevens reminds us that appearances are inherently deceptive: "it will be an appearance, / A shape left behind." This acknowledgment of time’s illusion reflects a tension between the continuity of natural cycles and the subtle alterations that differentiate one moment from another. The "like wings spreading out" suggest both the persistence of form and the ephemeral nature of these repetitions.

The description of the scene as "brightly empowered with like colors, swarmingly" captures the intensity and vibrancy of the natural world, but Stevens tempers this brightness with a recognition of its artifice: "But not quite molten, not quite the fluid thing, / A little changed by tips of artifice." The phrase "tips of artifice" suggests that human perception and interpretation subtly alter the raw beauty of nature. Even as we observe the world, our understanding is filtered through a lens of art, culture, and memory.

Stevens contrasts these mediated experiences with the "early constellations, from which came the first / Illustrious intimations—uncertain love." These "early constellations" evoke a primordial time when humanity first encountered the sublime, unmediated wonders of the universe. The "uncertain love" they inspired reflects a nascent sense of connection and awe, tied to a "knowledge of being" that existed "without sense of time." This timeless awareness contrasts with the temporal, shifting perceptions of the present, highlighting the ways in which human understanding has evolved.

The poem concludes with a gesture of humility and surrender: "Take the diamonds from your hair and lay them down. / The deer-grass is thin. The timothy is brown." The "diamonds" symbolize adornment and artifice, suggesting a need to relinquish these embellishments and engage directly with the simplicity of the natural world. The thinning "deer-grass" and browning "timothy" mark the waning of summer, reinforcing the theme of impermanence and the inevitability of seasonal change.

The final line, "The shadow of an external world comes near," introduces an element of ambiguity and foreboding. This "external world" could represent the encroachment of reality on the idyllic, the inescapable presence of mortality, or the limits of human understanding. The "shadow" suggests a boundary between perception and truth, a reminder that the external world, however near, remains partially obscured and unknowable.

Structurally, the poem’s free verse and fluid imagery mirror its thematic exploration of change and impermanence. Stevens’ language is rich and evocative, weaving together sensory details and philosophical reflections to create a tapestry of fleeting beauty and profound insight. The interplay between the natural and the artificial, the timeless and the temporal, invites readers to consider their own relationship with the world and the ways in which art and perception shape their understanding.

"Late Hymn from the Myrrh-Mountain" is a meditation on the transient beauty of the natural world and the complexities of human perception. Through its intricate imagery and philosophical depth, the poem explores the ways in which art, memory, and time influence our understanding of reality. Stevens reminds us of the delicate balance between embracing the world as it is and acknowledging the transformative power of perception, offering a hymn that celebrates both the fleeting and the eternal.

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