To help you to understand the poem in detail, here’s a summary of what the poem is about:
- The poem in a nutshell
- A “translation” of the poem, section-by-section
- A commentary of each of these sections, outlining Stevenson’s intention and message
‘The Spirit is too Blunt an Instrument’ in a nutshell
‘The Spirit is too Blunt an Instrument’ by Anne Stevenson was published in 1969. The speaker is in amazement over the complexities of a newborn baby’s body and concludes that the human “spirit” is too clumsy to be able to create something so perfectly.
‘The Spirit is too Blunt an Instrument’ breakdown
Lines 1–5
“The spirit is too blunt an instrument
to have made this baby.
Nothing so unskilful as human passions
could have managed the intricate
exacting particulars: the tiny”
Translation
- The speaker contemplates the creation of a baby
Stevenson’s intention
- The speaker uses metaphorical language to convey the idea that the human spirit is inadequate when it comes to creating life:
- The word “blunt” suggests that the human spirit lacks the delicate touch required for such a complex process
- The speaker then expands on the initial point and suggests that the creation of a baby is beyond the capabilities of human passions as they could not have been able to make the “intricate exacting particulars”
- The enjambment here could reflect the speaker’s marvel and wonder over the creation of “this baby”:
- Caesura is used in line five to indicate that the speaker will elaborate on the list of the “particulars” of the baby that they find so fascinating
Lines 6–9
“blind bones with their manipulating tendons,
the knee and the knucklebones, the resilient
fine meshings of ganglia and vertebrae,
the chain of the difficult spine”
Translation
- The speaker lists some of the attributes of the baby that they are marvelling at
Stevenson’s intention
- The speaker provides a detailed description of various anatomical components and this attention to detail highlights the speaker’s fascination with the complexity and precision of the structure of the human body
- The writer uses concrete nouns such as “tendons”, “knee” and “knucklebones” to describe the baby:
- The baby is being described as a highly complex physical object
- The baby therefore becomes distinct from the mind, or spirit, which is “blunt” and “unskilful”
Lines 10–14
“Observe the distinct eyelashes and sharp crescent
fingernails, the shell-like complexity
of the ear, with its firm involutions
concentric in miniature to minute
ossicles…”
Translation
- The speaker continues to observe and marvel at the baby’s features
Stevenson’s translation
- The speaker begins by urging the reader to “observe” the minute details of the body:
- This indicates a sense of curiosity and wonder in the speaker
- Through vivid imagery, the speaker describes the distinct features of the body, such as the “eyelashes” and the “fingernails” and emphasises the unique characteristics of each body part:
- This reinforces the complexity of the baby’s body
Lines 14–18
“...Imagine the
infinitesimal capillaries, the flawless connections
of the lungs, the invisible neural filaments
through which the completed body
already answers to the brain.”
Translation
- The speaker continues to marvel at the baby’s body by now focusing on the internal mechanisms
Stevenson’s intention
- The speaker invites the reader to “imagine” the intricate structures within the body, emphasising the need for visualisation and contemplation
- The speaker describes various physiological elements, including “infinitesimal capillaries” and “flawless connections of the lungs”, which highlight the microscopic components of the human body
- The speaker emphasises the interconnectedness of bodily systems, suggesting that the body is already responding to the brain through “invisible neural filaments”:
- This highlights the seamless integration of physiological processes
- Throughout these lines, there is a sense of wonder and awe at the anatomy of the human body
- The enjambment used here could highlight the speaker’s excitement over the design of the human body
Lines 19–24
“Then name any passion or sentiment
possessed of the simplest accuracy.
No, no desire or affection could have done
with practice what habit
has done perfectly, indifferently,
through the body’s ignorant precision.”
Translation
- The speaker returns to her initial point about the limits of the spirit and how it cannot create a life
Stevenson’s intention
- Once again, the speaker challenges the idea that human passions possess any level of “accuracy” by asking the reader to “name any passion or sentiment” that could create a human life
- The speaker suggests that habit plays a crucial role in shaping the body’s functions rather than human desires or affections
- The phrase “the body’s ignorant precision” highlights the disconnect between bodily functions and human consciousness:
- The speaker emphasises how the body has remarkable precision in carrying out tasks, but it does so without awareness
Lines 25–27
“It is left to the vagaries of the mind to invent
love and despair and anxiety
and their pain.”
Translation
- The speaker is reflecting on the role of the mind in creating and experiencing emotions
Stevenson’s intention
- The speaker suggests that the mind is responsible for inventing emotions such as “love and despair and anxiety”:
- This implies that these emotions are constructs of the human psyche and abstract rather than aspects of the physical world
- By framing emotions as inventions of the mind, the speaker highlights the subjective nature of human experience
- The speaker uses the word “vagaries” to suggest that the mind’s creation of emotions is not dictated by logic or reason but by a range of factors that make it unpredictable