Abstract This paper analyzes the literary style of poet e.e. cummings. The paper first explains that, although Edward Estlin Cummings, e.e. cummings, had a classical Harvard education, he was part of the avant garde society of Gertrude Stein, Ezra Pound and Picasso. The paper then discusses Cummings writing style, noting that he developed an unusual style of grammar using lower case letters, creating new linguistic patterns and making up his own words often with verbs as nouns. The paper analyzes Cummings' poem "l(a", published in 1958.
From the Paper "The fact that Cummings was an artist is important for he obviously considered his poems an audio painting. He paid special attention to his punctuation. It is often an integral part of the work. His poems need to be read for the visual of the work is an important aspect of it. Among his many styles he sometimes used what is known as enjambment. The punctuation used is a way of directing the reader and steering him to the place he wants the reader to be. He is showing the reader how it is supposed to be read and enjoyed."
Abstract Poet E.E. Cummings considered any force that threatened what is natural and instinctive to be an antagonist of life, an adversary that men must confront before they completely lost their ability to feel and respond as individuals. The paper shows that Cummings thought mankind obsessed with technological advances and flashy advertisements promising the American ideal that he renounced the natural condition by developing needs for unnecessary things. The paper examines Cummings' contempt for man's alienation from his true self in the poems "pity this busy monster, manunkind," and "when serpents bargain for the right to squirm," which scorn what organized society has proudly developed.
From the Paper "Cummings further expressed his fear of the degradation of man's natural state three years later when he wrote "when serpents bargain for the right to squirm," an Elizabethan sonnet that satirizes society's blind adherence to decorum and regulation. Here, Cummings demotes man from being a monster, a word that at least implies animalistic qualities, to being an unnatural unanimal. When such legalese as bargaining, striking, and signing on the dotted line is applied to creatures and events of nature, the effects are preposterous, and yet society accepts such irreverent behavior in man, once a natural creature. Despite the child-like language and nonsense comparisons in the poem that add a touch of innocence to the poem, Cummings? message is clear: nature is being "separated from its most essential qualities", left to exist "simultaneously with his horror of a society seriously awry" (Marks 60)."
Abstract This paper discusses how E. E. Cummings, in his essay "A Poet's Advice to Students", advises that the best way to write poetry is to be a poet, and how his most persuasive explanation of what it is to be a poet is his explanation itself. The paper looks at how the perpetual enactment of Cummings' own demonstration of 'pistis' utilizes complex rhetorical strategies, which are artfully veiled by simple words and appealing rhythm to make his 'feeling' accessible to the reader. The paper asserts that, while Cummings' words are characteristically his own, their seeming simplicity echoes Aristotle's observation that the most persuasive art is the appearance of artlessness.
From the Paper "The title functions to both introduce the ethos, or character, of the speaker and establish the kairos, or occasion, of the text's reception. Ethos refers specifically to the character of the speaker as presented in the text, intended to establish the trustworthiness of the argument's presenter. Here, the title positions the speaker as a 'poet', who is therefore qualified to offer the instruction to follow. By prefacing the text as the 'advice' of an established poet to 'students', the title also serves to construct its own kairos by positioning the reader as one who may be educated by that which is explained. Thus, the title itself performs the rhetorical function of establishing the speaker's trustworthiness while simultaneously engendering receptiveness in the reader. "
Abstract This paper is a biography of the life and career of Edward Estlin Cummings, the twentieth century poet, playwright, novelist and artist. It describes his life from his birth in Cambridge, Massachusetts on October 14, 1894 through his childhood, education at Harvard and his experiences during World War I. It discusses how Cummings was a man of many talents-- a poet, a novelist and an artist and how he was also a voice, as all writers eventually become. It looks at how he stood for the freedom of the individual and how he expressed this through all of his works. It shows how in his poems he basically broke every law of grammatical structure known to language in and twisted the lyrical phrases around for the effect of both creativity and statement and in his art he did it by just the freedom and abstract design of his ingenuity transformed into what he painted.
From the Paper "Some of the rather influential voices that played a role in both Estlin's writing and art forms included many modern, known people. Early in his career, Estlin looked to William Shakespeare to enlighten him on the art of developing sonnets. He admired Shakespeare's "intensity" to make art what it is. He took this intensity and incorporated it into and molded his sonnets after Shakespearian ideas, so to speak. These turned out to be some of the finest sonnets of our century. Estlin wrote them in a way as to "celebrate love, savagely ridiculing human stupidity, and recording his pilgrimage to the transcendental" (Unger 433)."
Tags: abstract, reform, transcendentalist, poet, artist
Abstract This paper takes a look at how E.E. Cummings defied linguistic convention in his poetry, and how he imparted meaning to his poems that way. Includes an analysis of criticism of his work.
From the Paper "Renowned author and poet, E. E. Cummings, sought to take the use of language to a different extreme. By rearranging the traditional sentence structure and using nouns, verbs, adverbs, and adjectives interchangeably, he was able to stir up the minds of the poetic society. His unique style of self-expression delighted the world by puzzling their minds and requiring readers to think ?outside the box.? "
Tags: anyone, cummings, how, in, lived, pretty, town
Abstract The paper shows the poem "People" by Yevgeny Yevtushenko as an insightful and thought-provoking discussion about mankind in general as well as the individual man. The paper argues that because the poem glorifies people and reminds us to look for good in others, we could learn a great deal about being more considerate of people's thoughts and feelings by incorporating the poem into our lives. The paper compares "People" to poems by John Donne ("Meditation XVII") and E.E. Cummings ("anyone lied in a pretty how town"), comparisons which intensify the poem's theme of brotherhood.
From the Paper "The theme of brotherhood is strong in Yevtushenko's ?People,? appealing to our more philanthropical emotions. In a sense, the poem echoes John Donne's "Meditation XVII" from which the following well-known quotations come: "No man is an island" (827) and ?. . .never send to know for whom the bell tolls? it tolls for thee? (828). Both Donne's "Meditation" and Yevtushenko's poem express the idea that the loss of any individual in society is a loss of part of ourselves because we all share a bond with mankind, whether it be a bond of general humanitarianism or a more direct connection of knowing "brother of a brother" or "friend of friends" (328). When someone dies, he takes with him his private world of memories, "his first snow and kiss and fight" (328), which are a part of the person with whom he experienced these events as well. Therefore, a piece of the secret world of the living joins that of the dead, never to be rekindled in conversation, only in one-sided reminiscing."
Abstract This paper discusses the life and work of E.E. Cummings. The major theme in his poetry is romantic love, he was not a rebel of modern poetry; he was a conformist.
Abstract This paper looks at the form and function of E. E. Cummings's work in relation to his symbolic message, unique visual writing style, and suggestions on interpretations.
A comparison of the techniques used by e. e. cummings in his poem, "somewhere I have never traveled, gladly beyond" and Robert Creeley in his poem, "I Keep to Myself Such Measures."
1,945 words (approx. 7.8 pages), 0 sources, 2009, $ 61.95
Abstract This paper compares e. e. cummings' poem "somewhere I have never traveled, gladly beyond" and Robert Creeley's poem "I Keep to Myself such Measures." The paper examines how, through the use of a similar technique that uses physical terms and the use of words that suggest a physical state, these poets are able to encapsulate very powerful meaning and emotion.
From the Paper "It is clear that the images evoked by e. e. cumming's "somewhere i have never travelled, gladly beyond" and by Robert Creeley's "I keep to myself such measures" suggest a landscape. Each poet uses different styles of language, e. e. cummings being very descriptive and varying, and Robert Creeley being very minimalistic and unchanging. It is apparent that the suggested landscapes do not actually exist in reality, but instead are meant to evoke an emotional state, through the use of physical terms. The poets are similar in their ability to conjure various emotions through the use of physical language, but each poet has created very dissimilar landscapes and thus, dissimilar correlating emotions."
Abstract This paper explains that, unlike poets of their period who wrote mainly about war and people suffering, E.E. Cummings "in Just" and Dylan Thomas' "Fern Hill" discuss their childhoods. The author points out that, although both Cummings and Thomas use a lot of visual images to trigger the reader's senses, thus making the poem more believable to the reader, Cummings also uses a lot of coinage such as "mudluscious", which makes the reader think of what the world would be like if it were covered in mud. The paper relates that Dylan Thomas in "Fern Hill" uses a formal, complicated words, in long stanzas, because he is not writing about a child or for a child but rather in an adult's perspective for an adult; E.E. Cummings "in Just" uses informal diction because he is writing in a child's perspective.
From the Paper "E.E. Cummings writes about childhood in a third person narrative. It is as if he is outside of the mainstream. Cummings is on the outside trying to look into what it is like to be a child. This is why he writes in a child's perspective. People are given a chance to start fresh. Everything becomes new once again. People's spirits are awakened and it is as if they have been given a second chance at happiness, and carefree. Dylan Thomas has a different approach to writing about childhood than Cummings. Thomas writes in a first person narrative. He does not write as a child's perspectives, instead, he writes as an adult, in an adult's perspective. He is looking back on his childhood, as an adult."
Abstract By analyzing the poetry of Edna St. Vincent Millay and E.E. Cummings, the author of this paper shows how each of the poets use different methods to personify their love for themselves, for others, for nature and even for poetry. The paper studies poems such as ?I Think I Should Have Loved you Presently" by Millay and "Spring" by Cummings to show the different styles.
From the Paper "Again, it is clear that love means many different things to many different people, including the two highlighted poets ? E. E. Cummings and Edna St. Vincent Millay. Both poets use metaphors, imagery and descriptive language to express their feelings. The similarities end with the common literary devices; Cummings incorporates sensual images, the use of nature and emotions to proclaim his vulnerablity to love, as well as his lover. Millay, on the other side of the spectrum, never really connects words with her emotions, which makes it difficult to tell if she was speaking of love that she actually knew about, or perhaps she as just writing about a lover with whom she had shared a bed. Either way, both poets wanted to convey their thoughts on love, and these thoughts offer their readers windows into their souls, no matter how shallow or deep they might have been."
Abstract This paper discusses how the theme of disillusionment and disorientation in American society prevailed in the works of American artists, particularly in the realm of visual arts and literature. This paper studies and analyzes, comparatively, the work of the poet, e. e. cummings, and the painter, Mark Rothko. It explains through their works how individualism and expressionism became the ideologies that helped illustrate the state of human suffering in the painting, "Gethsemane", by Mark Rothko, and the poem, "pity this monster, manunkind", by e. e. cummings.
From the Paper "At the turn of the 20th century, American culture has flourished significantly, especially with the emergence of important fields of discipline that evoke individualism and free expression in works of art created by American artists. This phenomenon is especially evident after World War II, where the conflict among the world's nations had affected the psyche of American society and nation, one of the major players in the recently concluded war. After WWII, different lifestyles have emerged in the American society: consumerism, urbanism, and hedonism. These lifestyles gave birth to individualism and freedom of expression among people, especially now that the mass media made it possible for the society to exchange and extend messages and information to people located in different areas. However, despite these developments in American life, people have initially become disillusioned and disoriented about life, mainly due to the adverse effects of the war, which resulted to millions of deaths of people's lives and destruction of the physical environment of societies from all over the world."
Abstract This paper contends that the poem "Since Feeling Is First" by e.e. cummings seems to be about love and how much it determines what we do in life. It looks at how the poem illustrates the splendor of love in our lives and how life in the poem seems to be represented to the reader as a formality. Even though most consider death to be the end, it appears that e.e. cummings sees it as a beginning.
From the Paper "This poem's speaker could be "the man" in love who is trying to convince "his lover" that the flow of time is immaterial and that when you first feel something for someone, everything afterwards occurs at the same time. He explains to his love that there is no "syntax" or order or sense to our feelings and that if you attempt to make sense of it, (.... will never wholly kiss you; line 4) you will miss out on it. This could in fact be a simile that life itself is like an unstructured paragraph that has run-on sentences, mistakes, incorrect syntax and sometimes no punctuation at all. We witness the word "wholly"(lines 4 & 5) repeated twice in the poem, and in my opinion it's used to emphasize how a person must completely give himself over to the feelings being felt in order to entirely live moment without it being overly structured. "
Abstract This paper looks at the combination of sex and art, looking at two poems where the poets have made an attempt to work out where sex and love connect. The erotica of Sharon Olds' poem "Sex Without Love" is explored, as well as E.E. Cummings' sensual poem "She Being Brand".
From the Paper "Two terms seeming to often coincide, making love and poetry. The act of making love, sex, and sensuality are greatly utilized topics in writing, painting and even music. However, some may argue that this combination, sex and art, is odd in our media drenched America. Today, Eros parallels pornography and explicit sexual content, both "located on a continuum of erotic desire and dread" (Ostriker 327). Many poets have made an attempt to conquer the tangles and complications of sex and love, drawing connections between love of bodies and love of mind, leaving the abstract to the sensuous and the logical to the emotional. Sharon Olds, author of the poem ?Sex Without Love,? presents her audience with physically and sexually charged poetry. From no angle do her poems disguise erotic desires."
Abstract This paper presents a discussion about the future of Korea . The author looks to the work of Bruce Cummings' "Korea's Place in the Sun: A Modern History" to illustrate several key goals and points for the future of the nation. The essay examines the changes that should occur within the country over the next decade, including the maturation of a democratic government, reforming the financial system, and improving diplomatic relations between the North and South.
From the Paper " The world continues to globalize even in the face of terrorist attacks on America . When the focus moves to another nation there are many things that are occurring during the globalization process. One nation, Korea , is making great strides in many things when it comes to the process; however there are other areas in which it is lacking. The structure of the nation is unique in that it has fought within itself for two types of governments, and those two sides still do not see eye to eye on most issues. As we globalize it will be interesting to note how Korea moves to address some of the key issues that she will face. Bruce Cummings, author of Korea's Place in the Sun: A Modern History allows for the possibility that many changes are headed to Korea and he details the way he believes they will happen. While there are some areas that will be addressed as a natural extension of the globalizing process there are several that are going to have to be consciously worked out."
