E. E. Cummings' poem "since feeling is first" is a poem that displays how emotions dictate people's actions, and why the speaker thinks they have to. The poem suggests that to listen to one's heart is better than listening to one's mind, yet at the same time the poem is the speaker's analysis of the reason why emotions come before logical thoughts. The last line of the poem carries a twist on the theme that the remainder of the poem appears to be following. It talks about death and thought instead of life and emotion. It points out that death is something that should not be disregarded in life, and that thought is significant even with the dominance of feeling. Cummings develops the poem by applying the literary elements of theme, diction and form, and imagery.
This reader considers that the theme of the poem is the supremacy of emotions over reasoning. On the first line “since feeling is first" (Cummings, 1926, line 1). The one who pays attention to the meaning of things will never truly embrace life. “wholly to be a fool / while Spring is in the world” (Cummings, 1926, lines 5-6).The poem states that it is better to be a fool than to live by emotions while one is still young. Cummings also puts emphasis on his belief that emotions should not be logical in the third stanza of “since feeling is first,” stating, “my blood approves, / and kisses are a better fate / than wisdom” (Cummings, 1926, lines 7-9). Here, Cummings aims the reader to go with his gut feeling, and to let go of what he feels during a brief moment, for instance a kiss. He carries on his refusal to intellectualize emotion by saying “the best gesture of my brain is less than / your eyelids’ flutter” (Cummings, 1926, lines 11-12). Cummings wants the reader to center ...
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...he theme would be “my blood approves, / and kisses are a better fate / than wisdom” (Cummings, 1926, lines 7-9). Blood symbolizes life spiritually. Kisses can symbolize love, feelings.
In conclusion Cummings shows readers his natural disposition towards living life through emotions, and his defense of why this way of living comes first to living through thought. Living with his heart feels better to the author in contrast to living through his mind. He has also concludes that "the best gesture of his brain" (Cummings, 1926, line 11) could never live up to the deeds of love or true feeling. Nevertheless, "since feeling is first" (Cummings, 1926, line 1). The thought must come in second place. However this reader believes that the theme of this poem cannot be fully applied in real life because unfortunately is not always wise to let the emotions rule over reasoning.
Throughout history there have been many poets and some have succeeded while other didn’t have the same luck. But in history e.e. Cummings has stunned people with his creativity and exposure to the real world and not living in the fantasy people imagine they live in. Cummings was a great poet, and was able to make his own way of writing while he was also involved greatly in the modernist movement. But he demonstrates all his uniqueness in all and every poem, delivering people with knowledge and making them see the world with different eyes as in the poem “Since feeling is first”.
The poem “anyone lived in a pretty how town” by E.E. Cummings talks about the cycle of life and the importance of structure, symbolism, and language of the poem. For instance, the poem has nine stanzas, which has a rhyming pattern of AABC. The rhythm of the poem is significant for it supports one of themes, the cycle of life. Cumming uses season to explain the poem's progress. “spring summer autumn winter” (3) and “sun moon stars rain” (8) symbolizes time passing, which represents life passing. In the poem, as the seasons and skies rotate, life continues along with them. In addition, the uses of the words “snow” (22), “buried” (27), “was by was” (28), and “day by day” (29) leading to death. Towards the end of the poem, the depression of death was mention, but Cumming was just stating the n...
E. Cummings creates a critical and intolerant tone. He uses his work to criticize “most people” and how they blindly follow others. Cummings intolerance arises from others critical opinion of not normal people, whom the townspeople of the writing do not acknowledge. The uniqueness of both the main characters in the writing and Cummings is shown by the distinctiveness, inconsistency, and incorrectness of the writing. This tone directly relates to the theme and how anyone and noone are compassionate, caring people who actually recognize the value of life ,but are surrounded by townspeople who just stumble through life without a care or emotion. Cummings uses the seasons, bells, his unique composition and the repetition of “Women and men” and “anyone” to create and emphasize the unfortunate cycle of life. The use of the seasons in lines three,eleven, and thirty-four emphasise the passing of time and the unchanging ways of the townspeople. “Women and men”, in lines five and thirty-three,are used to remind us of Cummings definition of “most people” and how people tend to blend in and follow. The bells in lines two and twenty-four are used to indicate a change in the character 's, the first bell is before love and the second bell is rang before death.These significant life transitions show how love and death are final. life The character “anyone” introduces a person, unlike any others in the town, between him and his
Not so much in, "In Just-" but Cummings took his father's pastoral background and used it to preach in many of his other poems. In "you shall above all things be glad and young," Cummings preaches to the reader in verse telling them to love with naivete and innocence, rather than listen to the world and depend on their mind.
In his poem entitled “Grief”, Williams accurately describes his grief at the loss of a loved one. In Part One, the feeling is heavy and overwhelming. The speaker, (most likely Williams), recalls days of sitting bedside with a slow-dying love. Some writers waste time in getting to the heart of the poem, but Williams wastes none. In the first line, he leaves his readers with no question as to what is going on in the poem. He writes, “Gone now, after the days of desperate, unconscious gasping, the reflexive / staying alive,” (29). All readers are instantaneously reminded of an experience with watching a loved one pass slowly, perhaps painfully.
Despite the beauty described in the first few stanzas of the poem, it was the feeling of doubt and pondering that approached at the end of the poem that truly was the most thought provoking. Instead of just writing of beauty, Poets must realize that they may be leading people to false ideals, and in doing so that they may actually be causing individuals to believe in something that is nothing more than a dream. This realization makes the image of the questioning poet by far the most important in the piece.
The first poetic device the speaker uses to convey his or her meaning in this poem is the unorthodox grammar and sentence structure. The poem starts with the lines “anyone lived in a pretty how town / (with up so floating many bells down)” (1 – 2). In this case, this improper grammar reinforces the point that is the story of “anyone” (1). As such, the “how town” (1) represents the fact that the name of the town does not need to be specified, as this happens to everyone in every town. The speaker therefore alludes that the events of this poem are natural and they happen to anyone anywhere. E.E. Cummings deliberately uses “anyone” (1) and “no one” (12) as pronouns with ambiguous antecedents to generalize the poem’s meaning to society and all people in it. In this way, the speaker uses these thoughts as social commentary.
The first stanza describes the depth of despair that the speaker is feeling, without further explanation on its causes. The short length of the lines add a sense of incompleteness and hesitance the speaker feels towards his/ her emotions. This is successful in sparking the interest of the readers, as it makes the readers wonder about the events that lead to these emotions. The second and third stanza describe the agony the speaker is in, and the long lines work to add a sense of longing and the outpouring emotion the speaker is struggling with. The last stanza, again structured with short lines, finally reveals the speaker 's innermost desire to "make love" to the person the speaker is in love
..., the content and form has self-deconstructed, resulting in a meaningless reduction/manifestation of repetition. The primary focus of the poem on the death and memory of a man has been sacrificed, leaving only the skeletal membrane of any sort of focus in the poem. The “Dirge” which initially was meant to reflect on the life of the individual has been completely abstracted. The “Dirge” the reader is left with at the end of the poem is one meant for anyone and no one. Just as the internal contradictions in Kenneth Fearing’s poem have eliminated the substantial significance of each isolated concern, the reader is left without not only a resolution, but any particular tangible meaning at all. The form and content of this poem have quite effectively established a powerful modernist statement, ironically contingent on the absence and not the presence of meaning in life.
Billy Collins has used a specific metaphor, simile, rhyme and personification in his poem ‘Introduction to poetry’ in order to show how one should better understand a poem. This poem focused on what the poem actually mean and how a poem should be clearly understood. Throughout the poem, Billy Collins has presented a clear way of understanding the poem by using a very interesting imagery, symbolism, metaphor and a very sensitive sound. The words used in this poem are so powerful that the readers are convinced to think about the issue presented in the poem.
In the poem, if you don’t stop and think over what you are reading, you will miss the big picture and not enjoy it as much. In Life, if you keep thinking about the big goal in your mind, then you forget to stop and cherish the little things, making Life that much harder to get through. I found in my own analysis that the poem switches from a sort of sweetness to dying, but to Death the tone is completely bitter and makes Death seem evil, because in the poem it is. Death is seen as many things to different people. To E.E. Cummings, Death is the bad guy, the black sheep. Dying is the good guy, the normal family member. The poem does seem o increase in length in each line as each line goes through , much like life. You pick up on certain things through life, adding to the lessons you learn and the advice you receive and take to heart. Cumming’s poem “dying is fine)but Death” talks about the unpredictability of dying, and how it is welcomed. To the steadiness and finality of Death, and how it is
The speaker started the poem by desiring the privilege of death through the use of similes, metaphors, and several other forms of language. As the events progress, the speaker gradually changes their mind because of the many complications that death evokes. The speaker is discontent because of human nature; the searching for something better, although there is none. The use of language throughout this poem emphasized these emotions, and allowed the reader the opportunity to understand what the speaker felt.
Cummings' "since feeling is first" compares the beauty of emotion and the inadequacy of mental analysis. In line three, attention to "syntax," synonymous with literary construction and order, ruins emotional spontaneity, symbolized by a kiss. "Wholly to be a fool while Spring is in the world" ignores social convention in seeking pleasure while "fool" and "Spring" complement each other and suggest the blossoming of love. Line six, "my blood approves," focuses on the physical root of life and evades the hackneyed connotative baggage that arrives with the word "heart." Cummings then swear...
Emotions are evoked with the aim to free persons from disturbing emotions. In instances of pity and fear persons tend to accumulate these feelings, which is harmful to the soul. In tragedy, however, whatever sufferings witnessed are not in our control and these emotions are easily released thereby relieve the excess in our souls. Tragedy transforms these distressing emotions into “calm of mind”, thus, the emotional appeal of poetry leads to pleasure. In addition, esthetic emotion in poetry translates to pleasure. The reader and the listener of the poem are prompted through figurative language to visualize what is in the real world. The vividness of the imaginary world that is experienced by the reader, poet and listener generates to a new spiritual knowledge or understanding which gives pleasure (Berlant, p.189). To add on, melancholy as an aesthetic emotion is a source of pleasure. Melancholy involves a variety of emotions; a yearning, sadness, feeling uplifted and even an elusive excitement. It has both pleasure and displeasure aspects. The displeasure aspect lies in the feeling of grief, fear of the unknown, loneliness and emptiness. The pleasurable aspect is entirely about reflecting on elaborate illusion and happy memories. Melancholy is therefore deliberately pursued by finding seclusion. In seclusion reflection is deepened which in turn prolongs the pleasure. Dylan in his poem reveals instances of melancholy Gale, Cengage Learning,
With time poems may have lost their voice, but not their importance. Up to this day, poetry is still one of the greatest forms of artistic expression; Poems speak to emotions and capture feelings. There is no right format of a poem, but yet a world of possibilities. Instead being unchangeable poems are innately open to interpretation; they should be spoken out loud in order to be “heard”, convey truth and cause impact. The Love Song of J. Alfred Prufrock by T.S. Eliot is an extremely meaningful poem; it is one of Elliot’s best-known works and without a doubt a masterpiece (Hillis). T.S. Eliot introduces the poem with a quote from Dante's Inferno (XXVII.61-66), and with that sparks our curiosity. He then makes statements and questions that perhaps everyone has done, or will do at some point in life (Li-Cheng, pp. 10-17). The poem is a legitimate work of the modernist movement, the language used is contemporary; the verses are free and the rhythm flows naturally.