“This Is Just to Say” by William Carlos Williams: A Critical Analysis

Introduction: “This Is Just to Say” by William Carlos Williams

“This Is Just to Say” by William Carlos Williams first appeared in 1934 in his poetry collection The Collected Poems: Volume I, 1909-1939. The poem, often celebrated for its simplicity and everyday subject matter, reads like a brief, informal note in which the speaker apologizes for eating plums from an icebox. Its charm and enduring popularity stem from its straightforward language and open, conversational tone, which evoke the intimacy of an honest confession. Through minimalism, Williams captures the tension between guilt and pleasure, highlighting themes of impulse and desire in mundane moments. The poem’s appeal lies in its relatability and its subtle yet impactful exploration of human nature, making it a notable example of modernist poetry’s break from traditional forms to embrace the ordinary.

Text: “This Is Just to Say” by William Carlos Williams

Annotations: “This Is Just to Say” by William Carlos Williams

Stanza	Text	Annotations	Literary & Poetic Devices
Title	This Is Just to Say	The title suggests a casual, almost dismissive tone, as though the speaker is writing a quick note rather than a formal apology. It prefaces the poem as an informal message, setting up an expectation of simplicity and intimacy.	Irony, understatement, conversational tone
Stanza 1	I have eaten the plums that were in the icebox	The speaker admits to eating the plums, presenting the act in a matter-of-fact manner. The language is simple and direct, resembling everyday speech, which makes the speaker’s confession feel relatable. The mention of “icebox” adds a touch of domesticity.	Plain diction, enjambment (lines spill into the next without punctuation), imagery (visual of “plums” and “icebox”)
Stanza 2	and which you were probably saving for breakfast	This stanza adds a layer of assumed understanding between the speaker and the reader (likely a partner or housemate). “Probably” implies uncertainty, hinting at a lack of communication but also a sense of care. The tone shifts subtly from statement to implied apology or regret.	Assonance (“you” and “probably”), enjambment, understatement, implied empathy
Stanza 3	Forgive me they were delicious so sweet and so cold	The apology (“Forgive me”) is undercut by the speaker’s appreciation of the plums, which he describes with sensory language (“delicious,” “sweet,” “cold”). This creates a tension between regret and pleasure, as if the apology is genuine but also self-indulgent.	Sensory imagery (taste and touch), juxtaposition (apology vs. enjoyment), irony, enjambment

Literary And Poetic Devices: “This Is Just to Say” by William Carlos Williams

Device	Example	Explanation
Alliteration	“so sweet”	The repetition of the initial “s” sound in “so sweet” draws attention to the sensory qualities of the plums, enhancing their appeal.
Assonance	“you were probably”	The repetition of the “o” sound in “you” and “probably” creates a soft, contemplative tone, adding a reflective quality to the speaker’s thoughts.
Conversational Tone	The entire poem	The poem reads like a note or message, imitating casual conversation. This tone brings intimacy, making it feel like an honest confession to someone close.
Enjambment	“I have eaten / the plums”	Lines flow without end punctuation, allowing thoughts to spill over into the next line. This mirrors the natural rhythm of speech and adds to the casual tone.
Imagery	“they were delicious / so sweet / and so cold”	Sensory details like taste (“delicious,” “sweet”) and touch (“cold”) evoke the experience of eating the plums, making the reader imagine the sensations.
Irony	The title, This Is Just to Say	The title implies a simple, factual statement, but the content reveals the speaker’s awareness of guilt, making the phrase “just to say” ironic.
Juxtaposition	“Forgive me / they were delicious”	The contrast between asking for forgiveness and relishing in the act highlights the speaker’s conflicting emotions of guilt and enjoyment.
Minimalism	Sparse, direct language throughout	The poem’s simplicity and lack of descriptive excess reflect modernist minimalism, focusing on ordinary events with brevity and without ornate language.
Mood	Gentle regret mixed with pleasure	The mood is subtly regretful yet pleasurable, as the speaker acknowledges the wrongdoing while also savoring the experience of eating the plums.
Personification	Implied in the “you” as recipient	Though the “you” is implied and never fully characterized, it personifies an unseen reader to whom the speaker feels accountable, creating an intimate address.
Sensory Language	“so sweet / and so cold”	Descriptive terms like “sweet” and “cold” engage the reader’s senses, allowing them to experience the taste and feel of the plums, grounding the poem in physicality.
Understatement	“This Is Just to Say” as an apology	The title and the simple language underplay the apology, as though the act were insignificant. This understatement subtly contrasts with the speaker’s actual enjoyment of the plums.

Themes: “This Is Just to Say” by William Carlos Williams

1. Desire and Impulsivity
   A central theme in the poem is the tension between desire and self-restraint. The speaker’s choice to eat the plums, which he acknowledges were “probably saving / for breakfast,” reflects a moment of impulsivity where his craving overrides consideration for the other person’s wishes. The sensory enjoyment described in “they were delicious / so sweet / and so cold” highlights the allure of fulfilling immediate desires, even if it comes at the expense of someone else’s plans. Williams uses this simple act to portray how humans often prioritize their own wants, a universal experience that resonates through the poem’s understated honesty.
2. Guilt and Apology
   The poem also explores guilt and the complexity of apologies. Although the speaker says “Forgive me,” the apology feels somewhat insincere, as it is quickly followed by an expression of pleasure in eating the plums. This juxtaposition between asking for forgiveness and relishing in the act presents a nuanced view of guilt, where remorse and enjoyment coexist. The speaker acknowledges the wrongdoing, but the joy of the moment lingers, suggesting that some apologies are mixed with satisfaction rather than pure regret. This complex view of guilt makes the apology feel more human and realistic.
3. Intimacy in Everyday Moments
   Williams captures intimacy in ordinary experiences, highlighting how small, seemingly trivial actions can reveal the dynamics of a close relationship. The poem reads like a note left for a partner or housemate, with the title This Is Just to Say introducing a casual, conversational tone. The mention of “you were probably / saving / for breakfast” implies a shared space and mutual understanding, creating a sense of closeness even in a mundane interaction. The simplicity of the poem emphasizes that intimate relationships are often defined by such small gestures, where trust, communication, and sometimes forgiveness are conveyed through the everyday.
4. The Beauty of the Mundane
   Finally, the poem reflects the modernist theme of finding beauty in the mundane. By focusing on a commonplace act—eating plums from an icebox—Williams elevates an ordinary moment into poetry, encouraging readers to appreciate the aesthetics of daily life. The poem’s vivid descriptions, particularly “delicious,” “so sweet,” and “so cold,” bring the experience to life, allowing readers to savor the sensory qualities of the plums. This celebration of the ordinary encourages an appreciation for the details in our own lives, a hallmark of modernist poetry that finds depth in simple experiences.

Literary Theories and “This Is Just to Say” by William Carlos Williams

Literary Theory	Application to the Poem	References from the Poem
Reader-Response Theory	This theory focuses on the reader’s interpretation, suggesting that each reader’s personal experiences shape their understanding of the poem. Readers may interpret the speaker’s apology differently, some viewing it as sincere, while others see irony.	The casual tone of “Forgive me / they were delicious” invites readers to interpret the speaker’s true intentions.
Psychoanalytic Theory	This theory, based on Freudian concepts, can be applied to analyze the speaker’s subconscious desires and impulse control. The act of eating the plums symbolizes an indulgence of the id, or the desire-driven part of the psyche.	The impulsive act, “I have eaten / the plums,” reveals the speaker’s surrender to temptation.
New Criticism	New Criticism emphasizes close reading and analysis of text without considering authorial intent. Analyzing the structure, word choice, and imagery in the poem can reveal layered meanings about human nature and guilt purely from the text itself.	The tension in “Forgive me” vs. “they were delicious” provides insight into conflicting emotions within the text.

Critical Questions about “This Is Just to Say” by William Carlos Williams

• Is the speaker’s apology genuine or ironic?
• The tone of the speaker’s apology in “This Is Just to Say” is open to interpretation, as it oscillates between genuine remorse and subtle irony. The line “Forgive me” suggests an awareness of wrongdoing, but the immediate shift to “they were delicious / so sweet / and so cold” shifts the focus to enjoyment rather than regret. This enjoyment undercuts the apology, leaving the impression that the speaker might not fully regret the act, as the pleasure derived from eating the plums seems to outweigh any remorse. The contrast between these sentiments creates an ambiguity that invites readers to question the sincerity of the apology, reflecting the complexities of human emotion and the tension between responsibility and self-indulgence.
• What does the poem reveal about everyday intimacy and relationships?
• The poem captures an intimate glimpse into everyday life, suggesting that relationships are often defined by small, shared moments. The speaker’s knowledge that the plums were “probably / saving / for breakfast” implies a familiarity with the recipient’s preferences, indicating a close domestic relationship. This casual note reads as if written to a partner or housemate, and the speaker’s choice to apologize reveals an awareness of shared space and mutual respect. By focusing on such a mundane act, Williams highlights the significance of minor interactions in shaping the dynamics of a relationship, illustrating how moments of apology, forgiveness, and understanding emerge naturally in close partnerships.
• How does Williams use simplicity to convey complex emotions?
• Through sparse language and direct statements, Williams conveys a range of complex emotions in just a few lines. The simplicity of phrases like “I have eaten / the plums” and “Forgive me” mirrors natural speech, allowing readers to feel as if they are overhearing a genuine confession. Despite this simplicity, the poem is layered with tension between pleasure and guilt, as seen in “they were delicious / so sweet / and so cold.” These brief, vivid descriptions convey the depth of the speaker’s enjoyment, while the brevity of the apology implies a degree of casualness. The contrast between the straightforward language and the nuanced emotions it evokes illustrates Williams’ ability to communicate layered feelings with minimal words, a hallmark of his modernist style.
• In what ways does the poem reflect themes of temptation and impulse?
• The speaker’s decision to eat the plums reflects a moment of impulse, suggesting a theme of temptation. By admitting “I have eaten / the plums,” the speaker acknowledges an act of indulgence, one likely done on a whim without considering the recipient’s plans. The sensory imagery in “so sweet / and so cold” further emphasizes the allure of the plums, showing that their appeal outweighed the speaker’s sense of restraint. This portrayal of a small temptation illustrates a broader commentary on human nature, suggesting that even in close relationships, people sometimes yield to personal desires. Williams uses the simplicity of a domestic scene to underscore this theme, illustrating how moments of impulse are both universal and relatable.

Literary Works Similar to “This Is Just to Say” by William Carlos Williams

1. “This Room” by Imtiaz Dharker
   Similar in its celebration of the ordinary, this poem finds beauty and meaning in a simple, familiar space, using minimal language to evoke emotion.
2. “Variations on the Word Sleep” by Margaret Atwood
   Like Williams’ poem, Atwood’s work uses direct, conversational language to convey intimacy, revealing a personal moment with both honesty and emotional depth.
3. “The Red Wheelbarrow” by William Carlos Williams
   Another of Williams’ poems, this one focuses on a small, everyday object and conveys beauty through minimal, vivid imagery, emphasizing simplicity.
4. “This Living Hand” by John Keats
   Keats’ short, haunting poem, though darker, shares a similar tone of direct address and an intimate, personal message that feels like a confession.
5. “Dusting” by Julia Alvarez
   This poem explores a familiar household task with nostalgia and emotional resonance, much like Williams’ work, transforming the mundane into something meaningful.

Representative Quotations of “This Is Just to Say” by William Carlos Williams

Quotation	Context	Theoretical Perspective
“I have eaten / the plums / that were in / the icebox”	The speaker opens with a factual admission, directly confessing to an impulsive act. The simple language establishes an intimate, conversational tone.	Psychoanalytic Theory – This line hints at the speaker’s id-driven impulse to satisfy personal desire, reflecting the underlying forces of temptation.
“and which / you were probably / saving / for breakfast”	The speaker acknowledges the recipient’s intentions, showing awareness of their wishes. This creates a sense of shared space and relationship.	Reader-Response Theory – Readers might interpret the speaker’s awareness differently, either as regret or as simply observing the other’s feelings.
“Forgive me”	A brief, seemingly sincere request for forgiveness introduces a layer of guilt, though it may feel undercut by the rest of the poem’s tone.	New Criticism – This line, contrasted with the rest of the poem, creates tension between apology and enjoyment, making guilt a complex, layered theme.
“they were delicious”	The speaker transitions from apology to pleasure, emphasizing the sensory appeal of the plums, which contradicts any real remorse.	Formalism – Through simple diction and strong sensory imagery, the speaker’s pleasure complicates the apology, reflecting human complexity.
“so sweet / and so cold”	Closing with a vivid sensory description, the speaker fully relishes in the memory, almost as if the apology were incidental.	Structuralism – The use of sensory language as the final thought highlights the underlying theme of impulse over apology, a recurring human behavior.

Suggested Readings: “This Is Just to Say” by William Carlos Williams

1. Morris, Daniel. “‘This Is Just to Say This Is the End of Art: Williams and the Aesthetic Attitude.’” William Carlos Williams Review, vol. 32, no. 1–2, 2015, pp. 53–65. JSTOR, http://www.jstor.org/stable/10.5325/willcarlwillrevi.32.1-2.0053. Accessed 3 Nov. 2024.
2. Ranta, Jerrald. “Counting and Formal Analysis.” The Journal of Aesthetics and Art Criticism, vol. 29, no. 4, 1971, pp. 453–66. JSTOR, https://doi.org/10.2307/429190. Accessed 3 Nov. 2024.
3. Smelcer, John E. “This Is Just to Say.” The Poetry Ireland Review, no. 76, 2003, pp. 104–104. JSTOR, http://www.jstor.org/stable/25580178. Accessed 3 Nov. 2024.
4. Wallace, Emily M., and William Carlos Williams. “An Interview with William Carlos Williams.” The Massachusetts Review, vol. 14, no. 1, 1973, pp. 130–48. JSTOR, http://www.jstor.org/stable/25088326. Accessed 3 Nov. 2024.
5. West, Charles. “Teacher, This Is Just to Say–A Variation on a Theme by William Carlos Williams.” The English Journal, vol. 74, no. 2, 1985, pp. 39–39. JSTOR, https://doi.org/10.2307/816261. Accessed 3 Nov. 2024.
6. Fisher-Wirth, Ann. “The Allocations of Desire: ‘This Is Just to Say’ and Flossie Williams’s ‘Reply.’” William Carlos Williams Review, vol. 22, no. 2, 1996, pp. 47–56. JSTOR, http://www.jstor.org/stable/24565314. Accessed 3 Nov. 2024.