By William Carlos Williams
Lengthy well-known as a masterpiece of recent American poetry, WIlliam Carlos Williams' Paterson is one man's testomony and imaginative and prescient, "a humanist manifesto enacted in 5 books, a grammar to assist us life" (Denis Donoghue).
Paterson is either a place—the New Jersey urban in whom the individual (the poet's personal lifestyles) and the general public (the historical past of the area) are mixed. initially 4 books (published separately among 1946 and 1951), the constitution of Paterson (in Dr. Williams' phrases) "follows the process the Passaic River" from above the good falls to its front into the ocean. The unforeseen publication 5, released in 1958, affirms the victorious lifetime of the mind's eye, even with age and demise. This revised version has been meticulously re-edited by way of Christopher MacGowan, who has provided a wealth of notes and explanatory fabric.
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Additional resources for Paterson (Revised Edition) (New Directions Paperback)
Sample text
W ho is this Lord? H ow may seeds be planted in an immate rial thing? W hy should it be good to give thanks? N either the crea tive w ill, in the light of which all objects answer to the demand made of them by the searching mind, nor the moral w ill, in the light of which they are subsumed under a prior law of duty, is here put into effect. ” T h e w ill toward relational knowledge plays no part because whatever relation is, is. It may be accepted, and thanksgiving result, it may be rejected and complaint result, but the relation holds.
22 If it cannot be willed into action, how does the principle of gen erosity reveal itself, how is the soul made apparent? One of the fa mous passages in T h e Prelude is that dealing with skating at night. Clear and loud the village clock tolled six, the boy wheeled about, Proud and exulting like an untired horse he and his companions hiss along the ice, a pack after the hunted hare So through the darkness and the cold we flew, A nd not a voice was idle; with the din Smitten, the precipices rang aloud; T h e leafless trees and every icy crag T in k led like iron i8 THE U N M E D I A T E D VISION and oftentimes W hen we had given our bodies to the wind, A nd all the shadowy banks on either side Came sweeping through the darkness, spinning still T h e rapid line of motion, then at once Have I, reclining back upon my heels, Stopped short; yet still the solitary cliffs W heeled by me— even as if the earth had rolled W ith visible motion her diurnal round!
One could first take the case where the poet tries to convey a meta physical idea and fails, not because the idea is poor or false, but because it does not accord with the language of poetry. T h e follow ing passage is typical of T h e Excursion, and, in its original version dating back to 1798, supported C oleridge’s shift from Hartley and Godwin: 61 For, the M an— W ho, in this spirit, communes with the Forms O f nature, who with understanding heart WORDSWORTH 37 Both knows and loves such objects as excite N o m orbid passions, no disquietude, N o vengeance, and no hatred— needs must feel T h e joy of that pure principle of love So deeply, that, unsatisfied with aught Less pure and exquisite, he cannot choose But seek for objects of a kindred love In fellow-natures and a kindred joy.