The Poem

(Critical Guide to Poetry for Students)

Gentleness, even all gentleness, may sound restrictive, but the poem “To All Gentleness” asserts that apparent opposites are akin. The first simile, likening “pink roses bending ragged in the rain” to a plumber’s silvered cylindrical tank, posits a relationship between apparent incomparables. The speaker encounters both on a trip through the rain, the cylinder advertising a plumber’s shop. Both, the speaker finds, invoke “enduring” gentleness. Surrounded by rain, the roses support a cylinder of raindrops above them, linking them surprisingly but with the clarity of geometry to the plumber’s tank. The soft, organic, and vulnerable and the hard, mechanical, and indestructible are thus seen to be related. Indeed, the rose plant itself, to protect its tender flower, produces thorns and is thus a combination of gentle beauty and the threat of violence.

His contemporaries, the speaker reflects, ignore the lessons of nature about survival depending upon complementary contraries, the soft and hard, the gentle and fierce. People foolishly distinguish between high art—opera and the classics—and the everyday, the “anti-poetic.” That distinction is, the speaker asserts, “Garbage.” Poetry should not divide the world but should, like an old painting of the biblical prophet Isaiah’s ideal, the lion and lamb lying down together in peace, cause one to see the unity of what otherwise seems opposed. People aim too narrowly, failing to see...

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Forms and Devices

(Critical Guide to Poetry for Students)

Readers do not know specifically whom the poem’s speaker is addressing. Perhaps they are simply overhearing a soliloquy, or perhaps the speaker is actively trying to persuade the reader. The poem takes a form appropriate to talk—paragraphs of free verse. The form and diction of much of Williams’s poetry, a selection of everyday words in an arrangement free from formal strictures, was sometimes called “anti-poetic,” but such a judgment is simplistic and misleading. The poem is shaped by an inner logic. The importance of “enduring,” for example, warrants a full line, the space of many words, because endurance is long-lasting, often despite adversity. The form responds to content. The thought of paragraph 1 is not quite done, so the paragraph that follows “enduring” is hemi-stitched to it, a subparagraph picturing the indissoluble union between flowers and a boiler, two objects of the first paragraph. Physical form in this kind of poetry both enhances and depends upon meaning. Significance determines its own formal embodiment. Thus the seemingly “free” verse is shaped by the content it conveys, the significant elements of the whole.

In Williams’s poetry, those significant elements are communicated through objects, events, and representations of people’s thoughts: wilting roses, a plumber’s tank, the misguided thoughts of opinionated people, the ambitions of an archer, the tribulations of a fighter pilot, the penetrating and receiving aspects of love and sexuality. The poems speak through “concrete” references, abiding by Williams’s dictum that truths should be sought “in things.” This commitment to inherent truth identifies Williams as a modernist. His wedding of truth in things to everyday words, allowing him to address a broad audience, identifies him as an inclusive modernist. His democratic values spring to life in both the content and the forms of his poetry, helping to shape the free, sinewy, and meticulously ordered poems in which he embodies his thoughts.


(Critical Guide to Poetry for Students)

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