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

Upon looking at e. e. e. e. e. e. cummingss verse, in Just-,perhaps, two features immediately become apparent the use of sporty put between some words and pull ins, and the multiple use of a atomic number 53 word supporting an entire line. To a lesser degree, the poems visual also features the boys and girls names joined together as though they were each one, and the capitalization of the m in balloonMan towards the poems end. whole these features contri stille to how the poem will be read, and when the poem is read, the sound, furthered by head rhyme, assumes an jump rhythm of uplift and measured sensory faculty. That is, an accelerated tempo that reflects the excited style of child-like exuberance for leap revelry, and the lull in tempo that is attributed to the measured awareness or ambivalent feelings felt towards the goat-footed balloonMan. The poems rapid and and so measured tempo creates an artistic tension that coincides with the speakers story of a remembe red spring. By employing white quadrangle, 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 after the front line, in Just-, by cummings to emphasize the speakers musing that only in spring do the following things happen. The white space after spring in the second line suggests that the speaker ponders number one what his sense of hearing later learns to be a springtime memory . The white space is quite obviously used for the benefit of someone earshot to the poem being read. The white space in the first line between Just- and spring of the second line builds suspense when the reader pauses to pattern white space, and again, after spring when a child-like description defines what is uniquely acquirable only in the spring. That is when the world is mud- / luscious(lines 1-2). Almost immediately cummi ngs uses white space to direct the sound and rhythm of the poem that is not unlike conversation.A gradual dream-like state is suggested to the poems audience by cummingss far and wee discontinue, which is given increase white space and therefore longer pauses, until each word of the refrain supports its own 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 harming effect 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 conflicting tempos add tension to the speakers springtime memory, but the slowing of the tempo through cummingss use of alliteration focuses the audience on th e two emotional elements springtime celebration and the ambivalency felt towards the ever-present balloonMan(21).in Just- is probably a good congresswoman 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 fishy capitalization to suggest an accented syllable, or the white space to fee-tail a pause, better still, his use of compressed conjunctions to effect haste and exclamatory tones, add the repetitive refrains for accent and syncopation and one could set this poem to music.