In-just by e. e. cummings Essay -- essays research papers

Upon looking at e. e. cummingss poesy, in Just-,perhaps, 2 features immediately become apparent the use of innocence dummy betwixt some sound outs and lines, and the multiple use of a single word supporting an entire line. To a lesser degree, the poems opthalmic as well as features the boys and girls names joined together as though they were from each one one, and the capitalization of the m in balloonMan towards the poems end. All these features consecrate to how the poem will be read, and when the poem is read, the sound, furthered by head rhyme, assumes an alternating hertz of excitement and measured awareness. That is, an accelerated tempo that reflects the excited manner of child-like ebullience for springtime revelry, and the lull in tempo that is attributed to the measured awareness or ambivalent feelings mat towards the goat-footed balloonMan. The poems rapid and then measured tempo creates an artistic tension that coincides with the speakers account of a r emembered spring. By employing snow-covered space, alliteration, compressed conjunctions, and some unconventional capitalization, e. e. cummings creates a dream vision of a remembered springtime- revelry that reads with both excitement and a measured awareness.White space is used subsequently the first line, in Just-, by cummings to emphasize the speakers observation that precisely in spring do the following things happen. The ovalbumin space after spring in the second line suggests that the speaker ponders first what his auditory sense later learns to be a springtime memory . The white space is quite obviously used for the benefit of someone listening to the poem being read. The white space in the first line surrounded by Just- and spring of the second line builds suspense when the reader pauses to simulate white space, and again, after spring when a child-like description defines what is uniquely available wholly in the spring. That is when the world is mud- / luscious(line s 1-2). Almost immediately cummings uses white space to direct the sound and rhythm of the poem that is not contradictory conversation.A gradual dream-like state is suggested to the poems auditory sense by cummingss far and wee refrain, which is given increasing white space and therefore longer pauses, until each word of the refrain supports its give birth line. Initially the refrain complements the speakers excited springtime revelry in fact, line five flows nicely... ...rbles and / piracies and its / spring(7 -9) or the alliteration found from hop-scotch and jump-rope(15) ,wish to return and repeat it because the lines are fun to say. This pleasant incumbrance must be attributed to the speakers springtime revelry who also must wish to return to these activities if not for the constant stressful reminder of the queer/ old balloonman whistling / far and wee(11 - 13). The poems self-contradictory tempos supply tension to the speakers springtime memory, but the lag of the tem po through cummingss use of alliteration focuses the audience on the two emotional elements springtime celebration and the ambivalence felt towards the ever-present balloonMan(21).in Just- is probably a good example of a free-verse poem. The poems visual appearance might be compared to a page of dialogue within a drama-script . What makes cummingss poem better is the direction given to the reader, such as the odd capitalization to suggest an accented syllable, or the white space to imply a pause, better still, his use of compressed conjunctions to effect haste and emphatic tones, add the repetitive refrains for accent and syncopation and one could set this poem to music.