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- Summary
- Symbols and Images
- Themes
- Analysis of Sunday Morning
The poem begins with the speakerdescribing a woman spending her Sunday morning sitting outside rather than going to church. She falls into a dream that makes her feel guilty about the death of Christ. The dream includes a journey to Palestine and Christ’s tomb. Although she feels something, she is still skeptical about religion. She isn’t ready to ...
The most important images of this piece are self-evident and the most prevalent of these is the sun. It is included as part of the narrative from the beginning. It shines on the woman on her Sunday morning and represents comfort and peace. The sun is later used as a symbol for beauty and for the Christian god. Towards the end of the poem, a contras...
Throughout ‘Sunday Morning’ the speaker discusses the interactions between nature and humanity. To humankind, nature symbolizesboth paradise and death. The speaker brings up images of nature associated with religion and finally, nature’s independence and disregard for human affairs. Additionally, there is the overwhelming theme of happiness. The po...
Stanza Two
In contrast to the absolute silence of the scene at the end of the first stanza, the second picks up with a bit of renitence on the woman’s part. She is not going to passively “give her bounty to the dead.” Her “bounty” likely refers to her life on earth and therefore her faith. She is not completely convinced of her Christianity. The next lines contain her concern about giving up the pleasures of the sun and “pungent fruit.” She wants to keep her possessions around her rather than give them...
- Female
- October 9, 1995
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‘Sunday Morning’ is one of Wallace Stevens’s most celebrated poems. It first appeared in 1915 in the magazine Poetry, although the fuller version was only published in Stevens’s landmark collection Harmonium in 1923. Yvor Winters, an influential critic of modernist poetry and a minor modernist in his own right, pronounced ‘Sunday ...
- Complacencies of the peignoir, and late. Coffee and oranges in a sunny chair, And the green freedom of a cockatoo. Upon a rug mingle to dissipate. The holy hush of ancient sacrifice.
- Why should she give her bounty to the dead? What is divinity if it can come. Only in silent shadows and in dreams? Shall she not find in comforts of the sun,
- Jove in the clouds had his inhuman birth. No mother suckled him, no sweet land gave. Large-mannered motions to his mythy mind. He moved among us, as a muttering king,
- She says, “I am content when wakened birds, Before they fly, test the reality. Of misty fields, by their sweet questionings; But when the birds are gone, and their warm fields.
- 1 Complacencies of the peignoir, and late. 2 Coffee and oranges in a sunny chair, 3 And the green freedom of a cockatoo. 4 Upon a rug mingle to dissipate. 5 The holy hush of ancient sacrifice.
- 16 Why should she give her bounty to the dead? 17 What is divinity if it can come. 18 Only in silent shadows and in dreams? 19 Shall she not find in comforts of the sun,
- 31 Jove in the clouds had his inhuman birth. 32 No mother suckled him, no sweet land gave. 33 Large-mannered motions to his mythy mind. 34 He moved among us, as a muttering king,
- 46 She says, “I am content when wakened birds, 47 Before they fly, test the reality. 48 Of misty fields, by their sweet questionings; 49 But when the birds are gone, and their warm fields.
Sunday morning. " Sunday Morning " is a poem from Wallace Stevens' first book of poetry, Harmonium. Published in part in the November 1915 issue of Poetry, then in full in 1923 in Harmonium, it is now in the public domain. The first published version can be read at the Poetry web site: [1] The literary critic Yvor Winters considered "Sunday ...
As World War I intensified and Stevens neared middle age, he broached these subjects with quiet urgency in a poem as beautiful as it is difficult. Although “Sunday Morning” is considered Stevens’s breakthrough poem, it wasn’t published until he was 36. It debuted in Poetry magazine during a year that brought several other Modernist ...
