Stevens confronts Plato's rebuff of poetry head-on. In the first canto of 'The Auroras of Autumn', he is frustrated in his search for poetic transfiguration by 'Another image at the end of the cave'. He concludes, finally, that his endeavour amounts merely to 'form gulping after formlessness'. 1 This image brings together the analogy of the cave that Plato employs in the Republicwhich casts what we perceive as misleading appearanceswith Stevens' own anxiety over poetry's embodiment of truth: does verse form ever license insights that are not recondite abstractions, or, as Plato insists, does a rupture between appearance and reality leave poetic truth an ever elusive pursuit? These lines in Stevens' poem confirm for Helen Vendler the condition of the artist in whose heart and mind 'every formed object and image hungers for another object, another deceptive shadowy image in Plato's cave'. 2 And yet, Stevens strives to overcome this predicament. His writing discloses a direct engagement with Plato's philosophy in order to reassert the intrinsic value of poetry.The ancient philosopher provides the foundational critique of poetry based upon his theory of forms, deferring the true essence of things to the Intelligible realm. Humanity is left bereft, in his view, of the cognitive access to these essences. Accordingly, all our artistic representations of what we perceive through sense impressions become reduced to inaccurate representations of the world. Stevens responds by developing a theory of poetry that is as philosophically serious as his poems are technically achieved. Plato's claims for the failings of poetry, which stem from his attraction to idealism, equip him with a helpful point of reference. 3 Plato's idealised forms are final; Stevens' abstractions often turn out not to be ends in themselves. They allow him to test out different hypotheses, like an actor donning successive masks. 'The Idea of Order at Key West' is a case in point, describing 'Whatever self' the sea 2 had 'became the self | That was her song'. He then returns at the close of the poem to tactile and lyric particulars:The maker's rage to order words of the sea, Words of the fragrant portals, dimly-starred, And of ourselves and of our origins, In ghostlier demarcations, keener sounds.