Poetry and Music: Wallace Stevens’s Sound-scape in The Man with the Blue Guitar
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Although Wallace Stevens presents very intriguing sound events in many of his poems, scholars have focused more on his ocular-centric metaphorics than his sound-scape and its symbolism. Thus, this paper makes an attempt to examine the sound-marks in “The Man with the Blue Guitar” within the Eastern metaphysical frame of ‘Mu-wuy-Ja-Yeon’ (無爲自然). In particular, drawing on the influence of Okakura Kakuzo’s The Book of Tea on Stevens’s cosmopolitan sensibility, it takes a close look at Taoist and Zen-Buddhist notions of becoming, relativity, artless art and makes a parallel between a Taoist artist Peiwoh and the musician-poet in The Man with the Blue Guitar. Then it tries to explicate how Stevens adapts the sound-marks of Eastern metaphysics and aesthetics in his modernist experimentation to summon up something that is not quite expressible in the ocular-centric metaphorics. Ultimately, this paper aims to suggest an alternative approach to appreciate the Eastern sound-marks as part of the modern song of America Stevens played with his blue guitar.
Abstract
Although Wallace Stevens presents very intriguing sound events in many of his poems, scholars have focused more on his ocular-centric metaphorics than his sound-scape and its symbolism. Thus, this paper makes an attempt to examine the sound-marks in “The Man with the Blue Guitar” within the Eastern metaphysical frame of ‘Mu-wuy-Ja-Yeon’ (無爲自然). In particular, drawing on the influence of Okakura Kakuzo’s The Book of Tea on Stevens’s cosmopolitan sensibility, it takes a close look at Taoist and Zen-Buddhist notions of becoming, relativity, artless art and makes a parallel between a Taoist artist Peiwoh and the musician-poet in The Man with the Blue Guitar. Then it tries to explicate how Stevens adapts the sound-marks of Eastern metaphysics and aesthetics in his modernist experimentation to summon up something that is not quite expressible in the ocular-centric metaphorics. Ultimately, this paper aims to suggest an alternative approach to appreciate the Eastern sound-marks as part of the modern song of America Stevens played with his blue guitar.
참고문헌 (24)
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