The Red Wheelbarrow by

William Carlos Williams

„The Red Wheelbarrow‟ by William Carlos Williams depicts, in very simple
language, a red wheelbarrow outside in the rain.

„The Red Wheelbarrow‟ by William Carlos Williams might at first seem like a
bizarre poem about a meaningless “wheelbarrow.” Upon deeper
consideration, however, the reader can uncover layers of depth that speak of
disguise, appreciation, and usefulness that can be applied outside of the
poem—like in the relationships we have with companions. Basically, from this
story of “a red wheelbarrow,” we can realize that some of the most crucial
elements in our lives can go overlooked, and we can use that information to
show more appreciation to those who merit it.

About William Carlos Williams

William Carlos Williams was born on September 17, 1883, in Rutherford,
New Jersey. He began writing poetry while a student at Horace Mann
High School, at which time he made the decision to become both a
writer and a doctor. He received his MD from the University of
Pennsylvania, where he met and befriended Ezra Pound.

Pound became a great influence on Williams‟s writing and, in 1913,

arranged for the London publication of Williams‟s second collection, The
Tempers. Returning to Rutherford, where Williams sustained a medical
practice throughout his life, he began publishing in small magazines and
embarked on a prolific career as a poet, novelist, essayist, and playwright.
 Following Pound, Williams was one of the principal poets of
the Imagist movement; though, as time went on, he began to
increasingly disagree with the values put forth in the work of Pound and
especially T. S. Eliot, both of whom, he felt, were too attached to
European culture and traditions. Continuing to experiment with new
techniques of meter and lineation, Williams sought to invent an entirely
fresh—and singularly American—poetic form, whose subject matter was
centered on the everyday circumstances of life and the lives of common
people.

Williams‟s influence as a poet spread slowly during the 1920s and 1930s,
overshadowed, he felt, by the immense popularity of Eliot‟s “The Waste
Land.” His work received increasing attention in the 1950s and 1960s as
younger poets, including Allen Ginsberg and the Beats, were impressed
by the accessibility of his language and his openness as a mentor. His
major works include Imaginations (New Directions, 1970); the five-
volume epic Paterson, first published by New Directions in 1963 and
rereleased in 1992; and Pictures from Brueghel and Other Poems (New
Directions, 1962), which was awarded the Pulitzer Prize.

Williams‟s health began to decline after a heart attack in 1948 and a

series of strokes, but he continued writing up until his death in New
Jersey on March 4, 1963.

Explore The Red Wheelbarrow

 1 Summary
 2 Themes
 3 Structure and Form
 4 Literary Devices
 5 Analysis of The Red Wheelbarrow
 6 About William Carlos Williams
Summary
„The Red Wheelbarrow‟ by William Carlos Williams depicts, in very simple
language, a red wheelbarrow outside in the rain.
As an imagist poem, The Red Wheelbarrow is doing exactly what its supposed to.
There is nothing “extra” about this piece. It is incredibly direct while also
making use of memorable images that help the reader connect with what‟s
being described.

You can read the full poem The Red Wheelbarrow here.

Themes
In „The Red Wheelbarrow‟ Williams engages with themes that include
sentimentality and nostalgia, as well as nature. The latter can be expended to
include human beings and what they create. The wheelbarrow is, by Williams‟
own depiction, an incredibly important tool. He sees it as something upon
which practically the whole world hinges. through his focus on the
wheelbarrow, Williams is also asking the reader to consider nature and
humankind‟s connection with it. It is a tool that allows for rural and farming
communities to make a living and support their families day to day.

He presents this single red wheelbarrow as something of high importance. He

wonders in awe in regards to its various uses and its ever-present nature. By
taking a close, albeit brief, look at the wheelbarrow he is asking the reader to
do the same. To look closely and take note of the value in things that we
normally take for granted.
Structure and Form
„The Red Wheelbarrow‟ by William Carlos Williams is a four stanza poem that is
separated into sets of two lines, known as couplets. These lines are extremely
short and unusual. The first line of each stanza has three words and the
second line of each only one. Williams chose to write this piece in free verse.
This means that there is no single pattern of rhyme or meter at work in the
text. The diction is conversational and simple, creating a calm and casual tone.

Literary Devices
Williams makes use of several literary devices in „The Red Wheelbarrow‟. These
include but are not limited to examples of alliteration, juxtaposition,
and imagery. The latter is one of the most obvious and important techniques
at work. By using images clearly and succinctly, Williams enures that readers
connect with the sentiments that he‟s interested in. Juxtaposition is another
interesting and important technique that helps to convey the meaning
behind „The Red Wheelbarrow‟. the clearest example of this technique is the
wheelbarrow itself, which in a non-poetic context is unimportant and the
importance that Williams bestows on it. He depicts it as the hinge upon which
the entire world rests.

Alliteration is a formal device that is concerned with the use and reuse of
words that start with the same consonant sounds. For example, “rain” and
“red” as well as “barrow” and “beside”. Each example takes on a greater
significance in the poem due to the overall brevity of the text.
Analysis of The Red Wheelbarrow
Stanzas One and Two
so much depends
(…)
a red wheel
barrow
The structure of „The Red Wheelbarrow‟ is remarkably fitting for the commentary
that is taking place regarding the “red wheelbarrow”. Specifically, no word of
this set of lines (or of the lines to follow) is capitalized, which shows a lack of
visible importance for everything said. Even with the beginning of a sentence
with “so,” there is no capitalization. This speaks of how unadorned and
overlooked a “wheelbarrow” can be, though its uses are many. No doubt, the
“wheelbarrow” can be utilized as a grand tool for manual labor, but when
someone sees it, there is little significance to note, like a lowercase tool that is
surrounded by things that seem more important. Still, “so much depends
upon” this tool that the lack of visible grandeur is somewhat misleading, just
as the lowercase lettering can be a misleading detail that hides the fact that
what is presented is, in fact, a full sentence.

As well, the structure of „The Red Wheelbarrow‟ is very reliable. Each first line of
every set is three words, and the second line of each set comes with just one
word. This shows that the “wheelbarrow” is sturdy and reliable in its nature to
be a sound tool. Worth noting as well is that the only way that this basic
three-to-one-word structure for line sets can be accomplished is for the poet
to separate “Wheelbarrow” into two words. This manipulation of the wording to
fit into the structure indicates that this tool can be used in various manners
like it too can be made into the right tool for jobs even when it logically is not
a perfect fit. Essentially, then, this overlooked “wheelbarrow” is multifaceted
and dependable, even if circumstances logically stand outside of its normal
reach.

That the narrator says “upon” instead of “on” is telling as well since it comes
with an elegant connotation like something out of a fairy tale. Given that fairy
tales often include royalty and disguises—like Snow White‟s stepmother as an
old lady, Cinderella at the ball, and Princess Aurora in a quaint cottage—this
hints that there is something above and beyond at work with this
“wheelbarrow.” Like these fairy tale characters, there is more to this
“wheelbarrow” than meets the eye.

One final note about these beginning lines is that this “wheelbarrow” is “red.”
This is such a connected color for a “wheelbarrow” that it borders on cliché,
and if a person pictures it in front of a “red” barn, the “wheelbarrow” could
easily blend in. In this, the narrator has addressed the “wheelbarrow” in a
manner that makes it very typical in coloring, and something that likely does
not stick out from its surroundings. Basically, it is doomed to be overlooked
though “so much depends upon” it.

Stanzas Three and Four

glazed with rain
(…)
chickens
These lines continue with the same structural patterns of word counts and no
capitalization, though it does add a bit of elegance to the noted “wheel
barrow.” In particular, the “wheel barrow” is “glazed with rain water.” While this
speaks to the level of disregard the “wheelbarrow” endures to be left out to
the elements, the verb choice of “glazed” comes with a connotation of a
shining covering. Though it comes from neglect, in a way, this is a glimmering
sheen that adds something to the visual of the “wheelbarrow.” It is no longer
just “red” and ordinary, but “glazed”—shining and more likely to gain
attention.

However, that attention is stunted with the final line of the poem when the
poet notes that this “wheelbarrow” is “beside the white chickens.” As was
noted earlier, “a red wheelbarrow” can certainly blend into a typical farm
lifestyle, particularly when something as bright as a “white chicken” is there to
catch a viewer‟s eyes. The irony, though, is that this “wheelbarrow” could be
used to help tend to the chickens as well, such as carrying their food.
Regardless of this usefulness, the “wheelbarrow” could be overlooked in favor
of the “chickens” and their brighter coloring.

There is no punctuation mark within „The Red Wheelbarrow‟ outside of the final
period. What this indicates is that only the final act of the “wheelbarrow”
matters, as in only its ability to function fully. There is no appreciation shown,
though the owner of the “wheelbarrow” must have his tasks finished to
completion by the “wheelbarrow.” In this, the period is needed because it
indicates that the ending details are what matter. As well, it indicates that this
is the ultimate end to the existence of the “wheelbarrow.” It will never escape
this cycle, and this situation of being overlooked and little appreciated is its
ultimate end.

When applied to human nature, this poem could indicate that there are
people around us who are essential to our being, but they go overlooked as
well for various reasons. However, their influence on our lives makes it so they
should glisten more brightly, like a “glaze” that comes from “water” on the
“wheelbarrow.” In essence, this poem could be a lesson, by comparison, to
look for those who truly matter in order to make sure we do not take them for
granted. Otherwise, the lack of appreciation could continue to the
relationship‟s end, like the period is the only punctuation mark within this
poem.

It is noteworthy, though, that nothing in the poem indicates that the

“wheelbarrow” will stop functioning or lower its quality because of the lack of
appreciation, other than the possibility of becoming rusted from the “water,”
so there is little hint of warning of losing someone who is not cared for in a
right manner. It is, rather, the very essence of allotting the due amount of
appreciation that makes the concept worth putting into action. Overall, there
is a great deal to learn about how to treat our companions found with this
“wheelbarrow” so that our friendships do not become tainted and rusty.