The Power of Sixteen Words Exposed in The Red Wheelbarrow Essay

The Power of cardinal Words Exposed in The blushing(a) Wheelbarrow            William Carlos Williamss poem The Red Wheelbarrow is extraordinary for what it accomplishes within its eight short lines. It is exactly superstar sentence long, sixteen lyric poem. Numbers like that wouldnt norm entirelyy be essential in the consideration of a poems merit, only if The Red Wheelbarrow begs to be noticed for its length (or, rather, its lack of length) and for the arrangement of its sixteen words on the page.   In fact, an interesting experiment would be to give a root word of people the words that Williams uses and ask them to arrange the words into the structure of a poem. How many people would do as Williams does and end up with quatern almost perfectly congruent stanzas, to each one one with three words in the first line and one word in the heartbeat line? The syllable count in Williamss arrangement is not perfectly congruent, but i t is harmoniously different the two longer stanzas (by only one syllable apiece) organise the two shorter stanzas. A sentence which would otherwise sprawl across the page, close without structure (it has no punctuation or end-mark),   so much dependsupon a red wheelbarrow glazed with rainwater beside the purenesschickens.   is poured into a form of mathematical precision   Instead of flying with the sentence, as one would do if it were simply written in a linear way across the page, the reader tends to stop at each line-break and at every stanza break to contemplate how each stanza is different.   And there is a difference. The first stanza is abstract, calling upon the reader to agree to the notion that something depends on... ...ores (involving the red wheelbarrow, perhaps)? In the back room, looking out the window? In any case, the jibe we look at is framed and self-contained by the structure of the poem, and all the sensory information of the objects w e look at comes done that frame, opens up through that frame. Perhaps the real dependency in this poem is not that the speaker unit of the poem depends on the wheelbarrow as a farmer depends on his tools, although that is certainly part of it. Perhaps the real so much depends / upon is that the speaker, the beholder through the frame (and, by extension, the reader of the poem) knows that he or she is alive, that his or her senses are responding to the things of this world, and that, in a sense, the world -- in all its transition and beauty and variegation, even in the most mundane things -- responds to the person who has eye to see.