A CHIEF TASK of the poetry of Wallace Stevens is to reassert an intimate connection between metaphysical belief and the role of the poet. Stevens’s spiritual concerns are represented with depth and complexity, and, although their declaration is perhaps more explicit in his later poetry, earlier poems such as “Peter Quince at the Clavier” best express the liturgical role of poetry and of the poet. Stevens must be reckoned as a modernist poet whose central concerns are metaphysical, which is itself a placeholder term for concepts that are themselves placeholders: religion, spirituality, truth, beauty, the sacred, faith, prayer, God. Much as other modernists sought to reinterpret Christian themes or symbols, Stevens repositioned liturgy to rethink the roles and the possibilities of poetry, the poet, and the imagination in a manner appropriate for the modernist era and aesthetic, thereby manipulating the gaps of language and epistemology to allow readers a privileged view “through the bushes” of the poet working to uncover metaphysical truths.

中文翻译：

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“不断赞美的圣礼”：史蒂文斯的“彼得·昆斯在键盘上”中的形而上学和想象的礼仪

华莱士史蒂文斯诗歌的主要任务是重申形而上学信仰与诗人角色之间的密切联系。史蒂文斯的精神关怀以深度和复杂的方式表现出来，尽管他们的声明可能在他后来的诗歌中更为明确，但早期的诗歌，如“钢琴上的彼得·昆斯”，最好地表达了诗歌和诗人的礼仪角色。史蒂文斯必须被视为一位现代主义诗人，其中心关注的是形而上学，这本身就是一个占位符术语，用于表示本身就是占位符的概念：宗教、灵性、真理、美、神圣、信仰、祈祷、上帝。就像其他现代主义者试图重新解释基督教的主题或符号一样，史蒂文斯重新定位礼仪以重新思考诗歌的角色和可能性，诗人，