the poetry of elizabeth e cummings essay

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E. E. Cummings, who was created in 1894 and died in 62, wrote various

poetry with unconventional punctuation and capitalization, and unusual

line, expression, and even letter placements namely, ideograms. Cummings

hardest form of writing is probably the ideogram, it is extremely

terse and it combines both visual and auditory elements. There could be

noises or characters on the web page that can not be verbalized or cannot

convey precisely the same message if pronounced rather than read. Several of Cummings

poetry l(a, mortals),! blac, and swi( demonstrate the ideogram form

quite well. Cummings utilizes exceptional syntax in these poems to be able to

express messages aesthetically as well as by speaking.

Although you can think of l(a as a poem of misery and

loneliness, Cummings probably did not intend that. This poem is about

identity oneness (Kid 200-1). The theme of oneness can be

derived from the numerous inezces and forms of the phone number 1

throughout the poem. First, l(a contains both the number 1 and the

novel indefinite content, a, the second line contains the French

singular particular article, votre, ll on the fifth line represents two

ones, one for the 7th collection spells the phone number out, the 8th line, l

isolates the amount, and iness, the last range, can mean the state

penalized I that may be, individuality or oneness, deriving the

one from the lowercase roman numeral i (200). Cummings could have

simplified this poem drastically (a tea leaf falls: /loneliness), and

still communicated the same verbal message, but he provides altered the normal

syntax in order that each line ought to show a single and highlight the

theme of oneness. In fact , the complete poem can be shaped like a 1 (200).

The design of the poem can also be seen as the path of your falling tea leaf

the poem drifts down, flipping and modifying pairs of letters such as a

slipping leaf gliding, back and forth, into the ground. The

commencing l(a changes to le, and af flips to fa. ll

indicates a fast drop from the leaf, containing slowed by a longer collection

1. Finally, the leaf comes into the stack of dropped leaves for the

earth, represented by simply iness. Cummings has written this composition so

perfectly that every part of that conveys the message of oneness and

style (200).

In mortals), Cummings vitalizes a trapeze do something about paper. Strangely

enough, this poem, too, strains the idea of individualism, or

eachness, as it is explained on line 4. Lines a couple of and 5, climbi and

begi, both end leaving the letter i exposed. This is a sign that

Cummings is trying to emphasize the concept of self-importance (Tri

36). This composition is an amusing one, as it shows the effects of a trapeze

act inside the arrangement from the words. Online 10, the area in the

word open ing shows the act beginning, and the empty, stationary

moment before it has fully started. of rates of and, meet, lines 8

and 12 respectively, demonstrate a sort of back-and-forth motion, much like

that of the motion of your trapeze swinging. Lines 12 through 12-15 show the

final hop off the trapeze, and a/n/d on lines 17 through 19

represent the deserted trapeze, after the acrobats have dismounted.

Finally, (im around the last line should bring the readers sight back to

the top from the poem, where he finds mortals). Placing (im at the

end with the poem shows that the performers attain a unique type of

immortality intended for risking their lives to make a show of splendor, they

attain a particular type of growing old (36-7). The circularity with the

composition causes a sensation of wholeness or perhaps completeness, and might represent

the Group of friends of Life, eternal action (Fri 26).

Cummings first tightly drafted ideogram was! blac, an extremely

interesting poem. It starts with!, which usually seems to be saying

something deserving that affirmation point happened anterior towards the

poem, and the poem is trying objectively to describe selected feelings

resulting from!. dark-colored against white-colored is an example of such a

explanation in the composition, the clashing colors make a feeling in sync

with!. Also, why (whi) suggests amusement and wonder, another

feeling resulting from! (Weg 145). Cummings had written a notification

relating to! blac to Robert Wenger, author in the Poetry and Prose of

Electronic. E. Cummings (see Works Cited). In it, this individual wrote, for me, this poem

means just what this says… as well as the! which commences the composition is what

could be called and emphatic (=very). This composition is also issues the

cycle of birth, existence, death, and renewal. This is derived from the.

preceding the last letter. This demonstrates even though the poem is

finished, the circle of life is certainly not, and is ever cycling (Weg 144).

Through the poems shape,! blac also reveals a leaf fluttering for the

floor. The lines spacing syncs the speed with the reading with

regarding the leaf at different points in its fall. Using its capital

Is, IrlI also implies a tea leaf falling downward before that

visits the ground (147). Reading this composition, one may know the lone

intervalle on line 12. The poet person writes regarding the atmosphere and a tree, then a

comma intrudes, which makes the reader pause, and realize the modern

consciousness that the intervalle indicated regarding a falling leaf (145).

Lines 1 through 6 can also be very important to the poem. Though black

against white may be mentioning the color of the falling tea leaf in

contrast to the bright heavens, it is not incorrect to suppose it means even more.

Mentioned previously above, the poems motif is the routine of life, and dark-colored

against white could be indicating lifestyle death versus life. That shows

that though a tea leaf falling may be an indication of death, falling

of leaves is usually an integral part of the complete life routine of the woods

(146).! blac may seem just like a simple mess of phrases, but in the truth is

much more complex than that.

swi( is another poem of Cummings ideogram type. The essence of

this poem is viewing a birds swift air travel past the sunlight, and the question

with this experience. The poem largely tries to encourage the reader of

the difference between pregnancy, what one sees, and perception, what

1 knows he can seeing (Mar 105). The first collection, swi( shows that

the item the poet sees is usually moving thus rapdly that before he completely

utters his first phrase, he must identify the object, which it is

passing just before another thing the sun. His use of just primary

descriptives, just like speed, way, color, and shape indicates

that he is trying to describe the bird as soon as possible. The way

he talks, in terse syllables that lack syntactical relationship to

one another, imitate one who tries to speak before he knows exactly

what he would like to say, it is another indicator of how quickly the

object is definitely moving (106). a-motion-upo-nmotio-n/Less?, the 6th line

is usually signifying that although the poet person knows that both objects are

going, ones action causes the other to seem still (106). The g, at

the end of the poem is definitely showing any time the poet person has finally named

the item he saw, he quickly loses interest and prevents, as composing

more to further organize his thoughts would be unnecessary (106). The

different words from this poem are extremely important. against contrasts

with around, and indicates a cease. It seems that the poet really wants to

quit the object to be able to describe this. But a stopping of motion

would contradict swi/ftly, and so Cummings made a decision to refer to the speed

normal of the two, Swi/mming (106). swi( contains less significance

than the other poems being examined, but it is comparable in that the

format adds greatly to the composition.

Cummings distinct method of applying syntax to share hidden

meaning is incredibly effective. Someone does not simply read and

neglect Cummings ideas, instead, he must figure out the hidden which means

him self. In doing this, this individual feels satisfaction, and thus maintains the

poems idea for a more extended period of time. Cummings ideogram

poems are questions waiting to be solved.

Functions Cited

Friedman, Norman. Electronic. E. Cummings: A Collection of Critical

Works. New Jersey: Prentice-Hall, Inc., 72.

Kidder, Rushworth M. E. E. Cummings: An Introduction towards the

Poems. New York: Columbia University

Press, 1979.

Signifies, Barry A. E. E. Cummings. Ny: Twayne Marketers

Incorporation., 1964.

Triem, Eve. At the. E. Cummings. Minneapolis: University of Minnesota

Press, 1969.

Wegner, Robert E. The Poetry and Writing of At the. E. Cummings. New

York: Harcourt, Brace & World, Inc., 1965.

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