The Emperor of Ice-Cream by Wallace Stevens Summary

Wallace Stevens’ poem “The Emperor of Ice-Cream” delves into the contrasts between life and death, highlighting the vibrant, often messy reality of living against the stark finality of death. The poem’s unique approach challenges traditional views of death, instead urging readers to celebrate life’s simple pleasures, represented by the ice cream, even in the face of mortality.

Stanza 1: The Kitchen Scene

The first stanza opens in a lively kitchen, bustling with activity. The speaker issues commands, setting a fast-paced, almost chaotic tone. He instructs a muscular man to roll “cigars” and whip up ice cream, underscoring the raw and physical nature of life. The man’s strong presence and the act of whipping up ice cream suggest a celebration of sensual, bodily pleasures. This scene isn’t refined or elegant; it’s about the earthy, genuine experiences that make up daily life.

The focus then shifts to other people, likely attendees of the wake, who are busy preparing flowers. They use “last month’s newspapers” to wrap the flowers, adding a touch of carelessness or casualness to the event. This detail hints at how life moves on, how what was once new and fresh becomes old and discarded—just like the newspapers. The preparation of ice cream and flowers contrasts sharply with the usual somber and quiet atmosphere associated with funerals, making the scene feel more like a lively, almost careless celebration than a mournful gathering.

The line “Let be be finale of seem” encapsulates the essence of the poem’s message: accept reality for what it is, without pretense or façade. Stevens suggests that life, in all its unpolished reality, should be embraced over false appearances or societal expectations. This line encourages an honest confrontation with life, without the illusions that people often cling to.

The stanza concludes with the line, “The only emperor is the emperor of ice-cream.” This phrase emphasizes that life’s transient joys—symbolized by ice cream—are the true rulers or “emperors” of our existence. In other words, the poem suggests that the physical, momentary pleasures of life hold more significance than any grand, eternal concepts. Ice cream, with its fleeting nature, becomes a metaphor for life’s impermanence and the need to savor it while it lasts.

Stanza 2: The Dead Woman’s Room

The second stanza shifts the scene to a quieter, somber room where the dead woman lies. This setting starkly contrasts with the lively kitchen, underscoring the poem’s central theme of life versus death. The room is described in plain, almost unembellished terms, reflecting a raw acceptance of death’s reality. The dead woman is described with a “dresser of deal” that lacks any fancy carvings, highlighting the simplicity and ordinariness of death.

The speaker continues issuing commands, directing someone to cover the woman’s face with a sheet that does not quite fit, leaving her “horny feet” exposed. This detail is both stark and unsettling, emphasizing the physicality and undeniable reality of death. There is no attempt to beautify or soften the harshness of the scene; instead, the dead body is presented as it is, without the typical romanticism often associated with death. The exposed feet serve as a reminder that death strips away all pretense, reducing us to our most basic, human form.

The use of the sheet, which doesn’t fully cover the woman, further symbolizes how death resists complete concealment or beautification. No matter how much one tries to cover or dress it up, death remains an unavoidable truth. The poem does not shy away from this; instead, it directly confronts the rawness of death, suggesting that it is a part of life that must be acknowledged.

The stanza ends by repeating the line, “The only emperor is the emperor of ice-cream.” By repeating this line, Stevens reinforces the idea that life’s simple, fleeting pleasures are what truly matter, even in the presence of death. The ice cream, a symbol of impermanence and indulgence, stands in stark contrast to the cold finality of death. It suggests that while death is inevitable, it should not overshadow the joy of living.

The Emperor of Ice-Cream by Wallace Stevens Analysis

Wallace Stevens’ poem “The Emperor of Ice-Cream” is a complex and layered work that explores themes of life, death, reality, and the fleeting nature of pleasure. Through vivid imagery and contrasts, Stevens invites readers to confront the raw truths of life and death without pretense. The poem challenges traditional views on how we handle these profound aspects of existence, urging us to embrace the present moment and accept life’s unfiltered realities.

Celebration of Life’s Fleeting Pleasures

One of the central themes of the poem is the celebration of life’s simple, transient pleasures. Stevens uses ice cream as a symbol of these fleeting joys. Ice cream, with its cold, sweet, and melting nature, represents something that is enjoyable but doesn’t last long—just like many moments in life. By calling ice cream an “emperor,” Stevens elevates it above all other values, suggesting that the pleasures of the moment are the true rulers of our lives.

The first stanza’s lively kitchen scene is full of life. People are making ice cream, rolling cigars, and arranging flowers. These activities are all centered around sensory enjoyment—taste, smell, and touch. They remind us that life is about the small, everyday moments that bring joy. The ice cream, being cold and quickly melting, contrasts sharply with the traditional images of death. It’s not grand or eternal; it’s fleeting and ordinary. Stevens seems to be saying that we should focus on these simple pleasures instead of worrying too much about deeper, more existential concerns.

Acceptance of Reality Over Illusion

Stevens repeatedly emphasizes the idea of accepting life and death as they are, without trying to hide or beautify them. The line “Let be be finale of seem” is a powerful call to let reality prevail over appearance. Stevens criticizes the way people often try to mask the harsh realities of life and death with false appearances. He urges us to drop these illusions and face things as they are.

In the kitchen scene, people are busy preparing for what appears to be a wake, but there’s nothing solemn or refined about it. Instead of mourning quietly, people are rolling cigars and making ice cream—activities that are very much alive and grounded in reality. There’s no attempt to create a somber or reverent atmosphere. This challenges the traditional way we think about death, suggesting that life’s realities are messy, chaotic, and full of physical, tangible experiences.

In contrast, the second stanza takes us to the room of the dead woman. This room is quiet and still, a sharp contrast to the noisy kitchen. The woman is described plainly, with no attempt to dress up or romanticize her death. Her body lies on a plain, unadorned dresser, and her feet are exposed because the sheet doesn’t fully cover her. This unembellished depiction underscores the raw truth of death: it is something ordinary and unavoidable.

Stevens uses these contrasting scenes to make a point about facing reality. Instead of hiding behind illusions or trying to soften the harshness of death, the poem presents it in its bare form. The dead woman’s exposed feet symbolize the uncomfortable truths that we often try to avoid but must eventually confront. Death strips away all pretenses, reducing us to our most basic human form.

Life vs. Death

The contrast between the kitchen and the dead woman’s room highlights the poem’s exploration of life versus death. The kitchen is vibrant, full of action and noise, while the bedroom is still and silent. This juxtaposition serves to underscore the ongoing cycle of life and death. No matter how much we try to separate or elevate death as something different or special, it is just another part of the natural cycle.

Stevens doesn’t treat death as something grand or terrifying; instead, he places it alongside the ordinary acts of life. By doing this, he diminishes the power that death often holds in our minds. The lively kitchen activities continue despite the presence of death, suggesting that life goes on. This perspective challenges the traditional solemnity we associate with death, suggesting instead that it is simply another aspect of the everyday.

The poem’s title, “The Emperor of Ice-Cream,” reinforces this view. By calling ice cream the “emperor,” Stevens suggests that the real power in life lies in these transient moments of pleasure. Ice cream melts quickly; it’s not permanent, just like life. But while it lasts, it commands attention and enjoyment. Similarly, life is short and full of impermanent moments, and Stevens argues that we should focus on these, rather than being overly concerned with death.

Rejection of Rituals and Formalities

Stevens also critiques the way society often handles death with rituals and formalities. These rituals are meant to soften the blow of death, to make it seem less harsh or more controlled. However, Stevens’ depiction of the wake is far from the traditional, quiet mourning scene. Instead, it’s chaotic and full of life, breaking away from the usual expectations.

The flowers wrapped in old newspapers symbolize this rejection of formalities. Normally, flowers at a wake would be carefully arranged and presented to show respect. However, here they are carelessly wrapped in discarded newspapers, emphasizing the ordinary and unceremonious nature of the event. It’s as if Stevens is saying that no matter how much we try to control or ritualize death, it remains a raw, human experience.

The poem’s focus on real, unembellished moments suggests a preference for authenticity over formality. Stevens isn’t interested in dressing up death with rituals; he’s more concerned with how we live in the face of it. The poem challenges us to let go of the false security that rituals provide and to confront life and death on their own terms.

The Impermanence of Life

At the heart of the poem is the idea that life is impermanent, and that this impermanence should be embraced. Ice cream, with its quick melting and temporary nature, symbolizes this idea perfectly. It’s something to be enjoyed in the moment because it doesn’t last. Stevens suggests that instead of fearing death or getting caught up in the illusions of permanence, we should savor life’s fleeting moments.

The repetition of the line “The only emperor is the emperor of ice-cream” drives this point home. It’s a reminder that the things we often see as powerful or important—like rituals, traditions, or even death—are not as significant as the simple, transient pleasures of life. Ice cream, as a symbol, tells us to live in the present, to enjoy what we have now, because it won’t last forever.

“The Emperor of Ice-Cream” is a poem that confronts the realities of life and death in an unflinching way. Through vivid contrasts and symbols, Stevens challenges traditional views on how we handle these profound aspects of existence. He urges us to embrace life’s simple pleasures, accept reality without illusions, and recognize the impermanence of everything around us. By doing so, the poem becomes not just a meditation on death, but a celebration of life in all its messy, fleeting glory.

The Emperor of Ice-Cream by Wallace Stevens Line by Line Explanation

First Stanza:

1. “Call the roller of big cigars, / The muscular one, and bid him whip / In kitchen cups concupiscent curds.”

• Explanation: This line describes someone strong, making ice cream with enthusiasm in the kitchen. The words “roller of big cigars” and “muscular one” suggest a robust, lively figure.
• Language Devices:
  • Imagery: The vivid description of someone rolling cigars and making ice cream creates a sensory image.
  • Alliteration: Repeated sounds in “concupiscent curds” add rhythm.
  • Symbolism: The act of making ice cream represents indulgence in life’s pleasures.
• Analysis: This scene sets the tone of celebration and physicality, focusing on earthly pleasures, suggesting life’s fleeting joys. It contrasts with the solemnity usually associated with death.

2. “Let the wenches dawdle in such dress / As they are used to wear, and let the boys / Bring flowers in last month’s newspapers.”

• Explanation: The girls (wenches) wear their everyday clothes, and the boys bring flowers wrapped in old newspapers.
• Language Devices:
  • Contrast: Casual, everyday activities are juxtaposed with a moment typically solemn, highlighting life’s ordinary nature.
  • Imagery: Visual elements like the “last month’s newspapers” emphasize normalcy.
• Analysis: This line highlights the ordinary, unadorned nature of the event, rejecting pretense. It reflects Stevens’ view that life should not be dressed up or made formal, even in the face of death.

3. “Let be be finale of seem.”

• Explanation: This line means that reality (“be”) should replace illusion (“seem”).
• Language Devices:
  • Paradox: The phrase creates a conflict between appearance and reality.
  • Symbolism: “Be” stands for authenticity, while “seem” represents pretense.
• Analysis: Stevens urges acceptance of the truth without trying to soften it. This line is the poem’s core message: face life and death as they are.

4. “The only emperor is the emperor of ice-cream.”

• Explanation: Ice cream symbolizes the fleeting nature of pleasure, crowned as the ruler of life.
• Language Devices:
  • Repetition: The line emphasizes the idea that life’s simple pleasures are supreme.
  • Symbolism: Ice cream represents transient joys, crowned as the most important aspect of life.
• Analysis: This line dismisses traditional values or ideas of power, suggesting that momentary pleasure rules life. It reinforces the theme that life’s fleeting moments should be celebrated.

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Second Stanza:

5. “Take from the dresser of deal, / Lacking the three glass knobs, that sheet / On which she embroidered fantails once.”

• Explanation: This describes a simple, worn-out dresser missing knobs, and a sheet that the dead woman once embroidered with birds.
• Language Devices:
  • Imagery: The detailed description of the dresser and the embroidered sheet paints a vivid picture of neglect and decay.
  • Symbolism: The worn dresser and old sheet reflect the simplicity and impermanence of life.
• Analysis: The shabby, unadorned items symbolize the inevitability of death and decay, emphasizing that death strips away all embellishments, leaving behind only the bare truth.

6. “And spread it so as to cover her face.”

• Explanation: The sheet is used to cover the woman’s face, perhaps out of respect or to hide the reality of death.
• Language Devices:
  • Imagery: This action is tender yet stark, bringing death’s reality into focus.
  • Metaphor: Covering the face symbolizes society’s attempt to soften or hide death.
• Analysis: The act of covering her face contrasts with the earlier rejection of pretense. It suggests that even in facing reality, there’s still a human impulse to shield ourselves from the full impact of death.

7. “If her horny feet protrude, they come / To show how cold she is, and dumb.”

• Explanation: The woman’s feet stick out from under the sheet, revealing her cold, lifeless state.
• Language Devices:
  • Imagery: The “horny feet” evoke a stark, unembellished image of death.
  • Personification: The feet protruding symbolize the unavoidable reality of death.
• Analysis: This line emphasizes the raw truth of death—uncovered, exposed, and unglamorous. Stevens shows that death, unlike life, cannot be hidden or softened, and it’s presented in its most direct form.

8. “Let the lamp affix its beam.”

• Explanation: A lamp’s light shines, revealing everything without hiding imperfections.
• Language Devices:
  • Symbolism: The lamp represents clarity and truth, shining light on reality.
  • Imagery: The “beam” captures the act of exposing the scene without shadow or cover.
• Analysis: This line suggests that the truth, like the lamp’s beam, should shine unfiltered on reality, without dressing things up. It calls for clarity and acceptance.

9. “The only emperor is the emperor of ice-cream.”

• Explanation: Repeating this line reinforces that the true ruler is the momentary joy of life, not the somber, heavy aspects of death.
• Language Devices:
  • Repetition: Reinforces the central message of the poem.
  • Symbolism: Ice cream continues to symbolize transient pleasures.
• Analysis: This final line wraps up the poem’s theme by emphasizing once more that life’s fleeting pleasures are paramount. It reinforces the rejection of pretense and ritual, urging us to embrace life’s simple joys despite its impermanence.

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Overall Analysis and Language Devices:

1. Contrasts: The poem is built on contrasts—life versus death, joy versus sorrow, reality versus illusion. These contrasts help Stevens make his point that life’s messy, unfiltered moments are more real and important than any ritual or illusion we might create.

2. Imagery: Vivid images, like the lively kitchen and the stark, quiet room of death, create a powerful sense of setting that highlights the poem’s themes. The imagery is sensory and tangible, pulling readers into the scenes and making them confront these realities directly.

3. Symbolism: Stevens uses ice cream as a symbol for transient pleasure, rejecting grand symbols of power or eternity. This unconventional choice emphasizes the importance of the everyday over the eternal.

4. Repetition: The recurring line “The only emperor is the emperor of ice-cream” serves as the poem’s anchor, reinforcing the message that life’s transient joys are more valuable than any grand idea of power or control.

5. Tone: The tone of the poem is both celebratory and stark, combining the joy of life’s moments with the unflinching reality of death. It balances the lightheartedness of the first stanza with the sobering truth of the second.