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By the time he was in Harvard in 1916, modern poetry had caught his interest.
Blackmur wrote in “has a fine talent for using familiar, even almost dead words, in such a context as to make them suddenly impervious to every ordinary sense; they become unable to speak, but with a great air of being bursting with something very important and precise to say.” Bethany K. Further, spacing of key words allows puns which would otherwise be impossible.
Dumas wrote in her that “more important than the specific devices used by Cummings is the use to which he puts the devices. Some devices, such as the use of lowercase letters at the beginnings of lines ...
As one of the most innovative poets of his time, Cummings experimented with poetic form and language to create a distinct personal style.
A typical Cummings poem is spare and precise, employing a few key words eccentrically placed on the page.
Though his poetic language was uniquely his own, Cummings’ poems were unusual because they unabashedly focused on such traditional and somewhat passé poetic themes as love, childhood, and flowers.
What Cummings did with such subjects, according to Stephen E.He adopted Nancy at this time; she was not to know that Cummings was her real father until 1948. Two months after their wedding, Elaine left for Europe to settle her late sister’s estate.She met another man during the Atlantic crossing and fell in love with him. The early 1920s were an extremely productive time for Cummings.He was an unabashed lyricist, a modern cavalier love poet.But alongside his lyrical celebrations of nature, love, and the imagination are his satirical denouncements of tawdry, defiling, flat-footed, urban and political life—open terrain for invective and verbal inventiveness.” This satirical aspect to Cummings’ work drew both praise and criticism.But the spiritual lesson he learned from his sojourn with a community of brothers will be repeated in his subsequent writings both as an ironical dismissal of the values of his contemporary world, and as a sensitive, almost mystical celebration of the quality of Christian love.” John Dos Passos, in a review of the book for claimed that “in a style infinitely swift and crisply flexible, an individual not ashamed of his loves and hates, great or trivial, has expressed a bit of the underside of History with indelible vividness.” Writing of the book in 1938, John Peale Bishop claimed in the Mark Van Doren defined Cummings as a poet with “a richly sensuous mind; his verse is distinguished by fluidity and weight; he is equipped to range lustily and long among the major passions.” At the end of 1925 was published, for which Cummings wrote an introduction meant to explain his approach to poetry. Rosenthal wrote in “The chief effect of Cummings’ jugglery with syntax, grammar, and diction was to blow open otherwise trite and bathetic motifs through a dynamic rediscovery of the energies sealed up in conventional usage....In the introduction he argued forcefully for poetry as a “process” rather than a “product.” It was with these collections of the 1920s that Cummings established his reputation as an avant-garde poet conducting daring experiments with language. He succeeded masterfully in splitting the atom of the cute commonplace.” “Cummings,” Richard P.allow a kind of distortion that often re-enforces that of the syntax....All these devices have the effect of jarring the reader, of forcing him to examine experience with fresh eyes.” S. Hayakawa also remarked on this quality in Cummings’ poetry.He depicted his internment camp stay as a period of inner growth. Smith wrote in ’s emphasis “is upon what the initiate has learned from his journey.In this instance, the maimed hero can never again regard the outer world (i.e., ‘civilization’) without irony.