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Strains of a Gay Waltz‐ Wallace Stevens
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Sad Strains of a Gay Waltz
Except to be happy, without knowing
The truth is that there comes a time how,
When we can mourn no more over Imposing forms they cannot describe,
music Requiring order beyond their speech.
That is so much motionless sound.
Too many waltzes have ended. Yet the
There comes a time when the waltz shapes
Is no longer a mode of desire, a mode For which the voices cry, these, too,
may be
Of revealing desire and is empty of
shadows. Modes of desire, modes of revealing
desire.
Too many waltzes have ended. And then
Too many waltzes ‐ The epic of disbelief
There’s that mountain‐minded Hoon,
Blares oftener and soon, will soon be
For whom desire was never that of the constant.
waltz,
Some harmonious skeptic soon in a
skeptical music
Who found all form and order in
solitude,
Will unite these figures of men and their
For whom the shapes were never the shapes
figures of men.
Will glisten again with motion, the
Now, for him, his forms have vanished. music
Will be motion and full of shadows.
There is order in neither sea nor sun.
The shapes have lost their glistening.
There are these sudden mobs of men,
These sudden cloud of faces and arms,
An immense suppression, freed,
These voices crying without knowing
for what,
Sad Strains of a Gay Waltz‐ Wallace Stevens
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Wallace Stevens mountain‐minded Hoon”–that vivify the work
and reify its title. The mysterious Hoon is
Amid an extraordinary life’s work, Wallace
taken up as the subject of the fourth stanza,
Stevens wrote several dozen poems of
which had been left grammatically incomplete
lambent beauty, unsurpassed in modern
before. He is described as a solitary demiurge,
literature and expressing an American idiom
who “found all form and order in solitude”
that took account of an international
(Stevens 121, line 10), hermetically, or at least
influence while adding to the established, if
psychologically, removed from the world of
relatively nascent, domestic canon. Stevens’
men. Stevens tells us his forms have vanished,
“Sad Strains of a Gay Waltz” is comprised of
meaning away from him, Hoon, but also away
ten stanzas that, grammatically, can roughly
from the world, as they would from a
be analyzed in pairs. Each stanza consists of
demiurge, a creator, who had lost his
three lines, mirroring the musical time
dominion. The consequences of as much are
signature of the title, which abjures the
to be seen.
typical four‐four beat for the three‐four.
The fifth stanza inaugurates an apocalyptic
This measure—alternately known as “waltz
vision in which “There is order in neither sea
time” or “march time”–was considered an
nor sun” (Stevens 122, line 13). There is no
elegant baroque modulation, one which
glorious assonance in the central line of the
Stevens here laments with a firm aphorism:
stanza, exemplifying the mad Babel the
“The truth is that there comes a time/When
tuneless world has become, littered with
we can mourn no more over music/That is so
“sudden mobs of men” (Stevens 122, line 15),
much motionless sound” (Stevens 121, lines
all creaturely need, babified amid their rabble
1‐3). The triplicate “o” in the middle of the
and roused to chew their speech rather than
second line expounds upon the waltz theme,
speak their need. Stanza six clusters letters
which is again modulated in the second line of
together to create combustion, “An immense
the second stanza: “There comes a time when
suppression freed,” (Stevens 122, line 17),
the waltz/Is no longer a mode of desire, a
and the anxiety and surety that the world has
mode/Of revealing desire and is empty of
gone mad, or something–has just
shadows” (Stevens 121, lines 4‐6). The poem
about gone–is here.
begins in a premonitory fashion, as Stevens
purports to tell us the truth, which, as he sees Stevens tempers the terror in the streets with
it, is that the waltz is an outmoded and an existential turn: his view of pandemonium
impotent force, arousing no fascination and is never millenarian, it’s neurotic–” These
kindling no fire. That Stevens does tell us this voices crying without knowing for what,
in the approximate shape of a waltz is ironic, //Except to be happy, without knowing how”
and revealing: if the waltz isn’t good for (Stevens 122, lines 18‐19). Tongues tied
dancing, it’s still something to think about. tightly, they—by which he means we—seek
meaning and require the poet, the incognito
By the third stanza, Stevens indulges
waltz‐maker, to make it. Stevens allows
confidently in charming word‐painting: “Too
himself an out by acknowledging that desire
many waltzes have ended. And then/There’s
may be its own solution, that need provides
that mountain‐minded Hoon, /For whom
meaning. This is in line with many eastern
desire was never that of the waltz,” (Stevens
traditions that allow that life is desire, and
121, lines 7‐9) ending on a hanging comma.
desire pain; Stevens, however, doesn’t seek to
The waltzes mentioned in the first line end
eliminate pain—he sees its presence as proof
before the line does, leading to a clever
of life being lived, although at the cost, of
enjambment. And again, in the middle line,
course, of living in pain. These circularities are
we find the troika of long vowels– “that
Sad Strains of a Gay Waltz‐ Wallace Stevens
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less unpleasant in a three‐four rhythm, going full of motion and chaos, so too does his own
round and round a ballroom floor. forms. Without the revealing desire of art,
order is description less‐‐countless waltzes
“Too many waltzes have ended” (Stevens 122,
are brought to an end, heralding in an epic of
line 22) begins stanza 8, yet into this waltz‐
disbelief. Hope is not absent. At the end, the
bereft vacuum Stevens hears the howling of
"harmonious skeptic", the poet, will unite
lesser waltzes, in what he coins “The epic of
form and subject to give motion to sound; to
disbelief” (Stevens 122, line 25). His attitude
create music from disorder. The solitude of
isn’t one of encouragement, nor of essential
the poet is not enough. To attempt the task of
unity: he is not the “harmonious skeptic”
reordering of the world into a more
(Stevens 122, line 27) the world will need to
understandable "reality" through the
bring the world back its waltz, its music. For
imagination, he must describe himself and by
Stevens, the world—himself just another
extension the rest of mankind.
denizen of it—awaits a new demiurge, a
creator who can return the song to life, for
This poem has the appearance of being one of
whom again music “Will be motion and full of
the more straightforward commentaries on
shadows” (Stevens 122, line 30). He is
the role of the poet: "The more realistic life
knowing but not messianic, John the Baptist
may be, the more it needs the stimulus of the
awaiting Christ. There is no compelling reason
imagination" (Litz 176). In the disorder of the
to believe Stevens is not himself the narrator
times, the absence of religion and myth
of this poem: his status as an eminent poet,
confers an especial role for poetry. Man and
and the vision he had as a man who turned to
his art wields the role as the device of
creative work in middle age, compel one to
order, man's imaginative construct for making
believe as much.
life tolerable...and even ecstatic. This straying
If the particulars of the poem are downbeat— away from imagination and eventual return
those “sad strains” of the title—then indeed it reflects the cyclical orders of nature that
is a so‐called “gay waltz” that Stevens writes Steven's poems contain. While "The failure of
of: this is the song of, the stuff of life, the music (both in the life and the poem) is a
continuity of being and the complicity in living triumph of rationality over imagination" (Litz
we all share, to the tuneless tune of heedless 187), the place of motionless sound empty of
neurotics drooling their incompetent hymns— shadows is only transient: a necessary realm
or anthems, or waltzes, as Stevens would of chaos before the return to the "order" of
have it—into the unfillable chasms inside motion and shadow.
ourselves until, modestly, an artist‐creator
comes along to put it all to sense. Drool we Music is a response to nature, not an
do, and wait we must, as down these long, expression of it: it constructs an idea of order
Stevens‐less years we go together. that lends meaning to the reality that prompts
it. If the style of the poem and the content of
Harold Bloom writes that "we all fear the poem are one, and the art contains solely
loneliness, madness, dying. (The poet) will not motionless sound, then the failure does not
cure these fears. And yet those poets bring us lie in the subject the poem is responding to
fire and light". "Sad Strains" seems to be but with the creator. Not recognizing his own
reflecting on the ends of imagination and art inner divinity, in the experience of solitude
as well as these three basic fears. Hoon may man has confused the depiction of reality as
create the world from himself and find all the subject of his art. Man feels a compulsion
order in solitude, but the formless mobs lose to create without looking to the divine origin
the individuality of its components. As (himself).
mankind becomes increasingly formless and
Sad Strains of a Gay Waltz‐ Wallace Stevens
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When creating in the absence of light and
hope, man requires art to be more than "a
sound beyond any giving of the ear" (Stevens
845), to be description beyond the realms of
reality, to require order beyond speech. The
poem is created in the image of the poet; "he
does not turn to Paris or Rome for relief from
the monotony of reality. He turns to himself
and he denies that reality was ever
monotonous except in comparison" (Stevens
847). As the poem turns back to motion, it
shows to the reader another revelation of
reality. By peeling away coatings of illusion to
lay bare the concealed, the poet reveals that
there is another reality contained within the
surface of reality: one of music. However, the
aim of moving towards a reality free of
illusion is never realized as we can
only pursue the center closer without hope of
arrival. We only have the consolation to move
to "loftier and more secluded" (848) places, to
move back to the center, to rediscover the
ecstasy.
Waltz: a dance in triple time performed by a
couple, who as a pair turn rhythmically
round and round as they progress around the
dance floor.
"he thought the waltz the most difficult
dance to master"
Gay: joyful", "carefree", "bright and
showy",
1. Hoon: a lout or hooligan, especially a
young man who drives recklessly.
"the whole family was wiped out because
some drunken hoon had to drive his car"