The Power of Sixteen Words Exposed in The Red Wheelbarrow Essay

The federal agency of Sixteen Words Exposed in The Red burial mound            William Carlos Williamss metrical composition The Red Wheelbarrow is extraordinary for what it accomplishes within its eight short lines. It is scarce whizz sentence long, sixteen wrangling. Numbers like that wouldnt norm every(prenominal)y be important in the consideration of a poems merit, but 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 group of people the words that Williams uses and ask them to arrange the words into the building of a poem. How mevery people would do as Williams does and end up with four almost absolutely congruent stanzas, each one with trinity words in the first line and one word in the second line? The syllable count in Williamss arrangement is not perfectly congruent, but it is harmoniously different the two longer stanzas (by only one syllable apiece) sandwich the two shorter stanzas. A sentence which would otherwise sprawl crosswise the page, nearly without bodily structure (it has no punctuation or end-mark),   so more dependsupon a release wheelbarrow glazed with rain pissing beside the whitechickens.   is poured into a form of mathematical precision   Instead of flitting through 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 thither 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 scene we look at is framed and self-contained by the structure of the poem, and all the sensory infor mation of the objects we look at comes through that frame, opens up through that frame. Perhaps the real dependency in this poem is not that the speaker of the poem depends on the wheelbarrow as a husbandman 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 variety and beauty and variegation, even in the most mundane things -- responds to the mortal who has eyes to see.