Classic and Contemporary Poetry: Explained

Wallace Stevens’ poem "What We See Is What We Think" explores the complex relationship between perception and imagination, emphasizing the inevitable disjunction between the external world and the mental constructs we create to understand it. Through his characteristic melding of philosophical musings and vivid imagery, Stevens invites readers to consider how the mind shapes, colors, and often distorts reality, turning what is seen into what is thought.

The poem begins with a reference to time—specifically, "the disintegration of afternoon." This phrase sets the tone for the meditation that follows, suggesting a shift not only in the day but also in perception. Stevens marks the hour of twelve as a pivotal moment: "Till then, it had been the other way: / One imagined the violet trees but the trees stood / green." This juxtaposition between imagined and real colors signals a change in perspective, as the poet transitions from the certainty of physical reality to the more ambiguous realm of thought and imagination.

The choice of the color green, described as "as green as ever they would be," reinforces the idea of a definitive, objective reality. At noon, the physical world appears at its zenith, unmediated and unclouded by the subjective mind. The phrase "the sky was blue beyond the vaultiest phrase" further underscores the moment’s clarity and immutability, as the blue sky exists beyond the reach of language or metaphor. This line highlights the limitations of human expression, suggesting that certain aspects of reality resist even the most ambitious attempts at description.

Yet, the poem’s title and closing lines challenge this initial clarity, asserting that "what we think is never what we see." At "twelve and the first gray second after," the world begins to shift, and with it, perception becomes infused with imagination. Stevens introduces shades of ambiguity—"a kind / Of violet gray, a green violet"—blurring the boundaries between distinct colors and, metaphorically, between reality and interpretation. These hues are described as "a thread / To weave a shadow’s leg or sleeve," implying that the mind begins to craft its own version of reality, turning the external world into a canvas for thought.

The use of the word "phantomerei," meaning a realm of phantoms or illusions, points to the mind’s tendency to populate the world with its projections. Stevens connects this phenomenon to the act of artistic creation, likening it to "a scrawl / On the pedestal, an ambitious page dog-eared." These metaphors suggest that our perceptions are not passive reflections of the world but active, often imperfect, constructions shaped by ambition, memory, and imagination. The "pedestal" and "dog-eared page" evoke the idea of elevation and reverence, as if even the most mundane perceptions are imbued with the grandeur of human creativity.

The phrase "a pyramid with one side / Like a spectral cut in its perception" captures the complexity and imperfection of this process. A pyramid, a symbol of stability and permanence, is rendered incomplete or distorted by the "spectral cut." This image reflects how thought alters perception, turning the solid and definite into something transient and spectral. The "tilt" and "tawny caricature" further emphasize the subjectivity of the mind, which reshapes reality to align with its own biases and interpretations.

Stevens suggests that this disjunction between thought and perception is not merely a flaw but an integral part of human experience. The "paramount ado" that emerges from this gap reflects the vitality and creativity of the mind. The poem’s structure, with its fragmented imagery and fluid movement between the concrete and the abstract, mirrors this dynamic interplay. Each line builds upon the last, weaving together physical descriptions and philosophical reflections to create a tapestry of thought and vision.

Ultimately, "What We See Is What We Think" is less about resolving the tension between perception and thought than about celebrating it. Stevens acknowledges the inherent limitations of human perception but also revels in the imaginative possibilities it opens up. The poem suggests that reality, as we experience it, is always a blend of the external and the internal, shaped as much by the mind’s interpretations as by the world itself. Through its nuanced exploration of this theme, the poem invites readers to embrace the richness and complexity of their own perceptions, even as they remain aware of their subjectivity.

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