Classic and Contemporary Poetry: Explained

Wallace Stevens’ "Lions in Sweden" is a reflective and multifaceted poem that examines the tension between symbolic grandeur and the practical realities of existence. Through the figure of Swenson, the speaker critiques the "sovereigns of the soul"—the traditional virtues and ideals personified by allegorical figures like Justice, Fortitude, and Patience. The poem juxtaposes these majestic but hollow images with a call to embrace the vitality and diversity of life itself, encapsulated in the "vegetation" that still "abounds with forms." In doing so, Stevens meditates on the evolving nature of meaning and the human tendency to cling to outdated symbols.

The opening declaration, "No more phrases, Swenson," establishes a tone of impatience and dismissal, signaling the speaker’s rejection of traditional rhetoric and its associated symbols. The speaker reflects on a past when they were "a hunter of those sovereigns of the soul," suggesting a prior reverence for these grand ideals. The inclusion of "savings banks" in the list humorously deflates the grandeur of these virtues, aligning them with mundane and transactional concerns. This subtle irony underpins much of the poem, as Stevens questions the relevance of these ideals in contemporary life.

The sovereign virtues—"Fides," "Justitia," "Patientia," and "Fortitudo"—are portrayed as majestic yet flawed. Justice ("galled Justitia") is described as burdened, her scales of balance perhaps weighed down by contradictions. Patience is depicted as endlessly soothing wounds, suggesting a virtue of resignation rather than resolution. Fortitude is characterized as "frantic bass," a discordant and excessive energy that lacks harmony. These depictions suggest that the ideals once revered as guiding principles have become outdated and dysfunctional, unable to address the complexities of modern existence.

The speaker’s dismissal of these "majestic images" as unfit for souvenirs reflects a broader disillusionment with their symbolic power. Souvenirs, as tangible reminders of experience, are described as "the soul itself." This assertion complicates the critique, as it implies that the symbols, however flawed, are integral to the human psyche. The phrase "If the fault is with the soul, the sovereigns / Of the soul must likewise be at fault, and first" underscores this interconnectedness. The failure of these ideals reflects deeper issues within the human condition, suggesting that the fault lies not only in the symbols but also in the way they are internalized and perpetuated.

The line "Still hankers after lions, or, to shift, / Still hankers after sovereign images" captures the persistence of humanity’s longing for grandeur and order, even as it critiques these constructs. The lion, a traditional emblem of strength and authority, becomes a metaphor for the majestic but empty ideals humanity clings to. The speaker suggests sending these lions "back / To Monsieur Dufy’s Hamburg whence they came," invoking a sense of artificiality and commercialism. The reference to Monsieur Dufy, likely the French artist Raoul Dufy known for his decorative style, reinforces the idea that these symbols are aesthetic constructs rather than intrinsic truths.

The poem concludes with a turn toward the natural world: "The vegetation still abounds with forms." This shift suggests an alternative to the hollow grandeur of the sovereign images. The phrase evokes a sense of vitality, diversity, and renewal, emphasizing the richness of life as it is, rather than as it is idealized. Stevens contrasts the static and imposing nature of the lions with the dynamic and organic forms of vegetation, implying that meaning and beauty are found not in fixed symbols but in the ever-changing and abundant patterns of the natural world.

Structurally, the poem’s fluid movement mirrors its thematic exploration of transition and re-evaluation. The lack of a rigid rhyme scheme or consistent meter reflects the speaker’s rejection of formalized ideals, reinforcing the poem’s emphasis on adaptability and vitality.

"Lions in Sweden" is both a critique and a reimagining of the symbols humanity has traditionally relied on to structure meaning. By juxtaposing the grandeur of the sovereign virtues with the vitality of the natural world, Stevens invites readers to reconsider the sources of their ideals and the ways in which they navigate the complexities of existence. The poem celebrates the richness of life’s forms, suggesting that the true essence of the soul lies not in static symbols but in the dynamic interplay of experience and perception.

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