Wednesday, October 2, 2019
In-just by e. e. cummings Essay -- essays research papers
Upon looking at e. e. cummingsÃ¢â¬â¢s poem, Ã¢â¬Å"in Just-Ã¢â¬ ,perhaps, two features immediately become apparent: the use of white space between some words and lines, and the multiple use of a single word supporting an entire line. To a lesser degree, the poemÃ¢â¬â¢s visual also features the boysÃ¢â¬â¢ and girlsÃ¢â¬â¢ names joined together as though they were each one, and the capitalization of the Ã¢â¬Å"mÃ¢â¬ in Ã¢â¬Å"balloonManÃ¢â¬ towards the poemÃ¢â¬â¢s end. All these features contribute to how the poem will be read, and when the poem is read, the sound, furthered by alliteration, assumes an alternating rhythm of excitement and measured awareness. That is, an accelerated tempo that reflects the excited manner of child-like exuberance for springtime revelry, and the lull in tempo that is attributed to the measured awareness or ambivalent feelings felt towards the Ã¢â¬Å" goat-footed balloonMan.Ã¢â¬ The poemÃ¢â¬â¢s rapid and then measured tempo creates an artistic tension that coincides with the speakerÃ¢â¬â¢s account of a remembered spring. By employing white 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 after the first line, Ã¢â¬Å"in Just-Ã¢â¬ , by cummings to emphasize the speakerÃ¢â¬â¢s observation that only in spring do the following things happen. The white space after Ã¢â¬Å"springÃ¢â¬ in the second line suggests that the speaker ponders first what his audience 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 between Ã¢â¬Å"Just-Ã¢â¬ and Ã¢â¬Å"springÃ¢â¬ of the second line builds suspense when the reader pauses to simulate white space, and again, after Ã¢â¬Å"springÃ¢â¬ when a child-like description defines what is uniquely available only in the spring. That is Ã¢â¬Å"when the world is mud- / lusciousÃ¢â¬ (lines 1-2). Almost immediately cummings 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 poemÃ¢â¬â¢s audience by cummingsÃ¢â¬â¢s Ã¢â¬Å"far and weeÃ¢â¬ refrain, which is given increasing white space and therefore longer pauses, until each word of the refrain supports its own line. Initially the refrain complements the speakerÃ¢â¬â¢s excited springtime revelry; in fact, line five flows nicely... ...rbles and / piracies and itÃ¢â¬â¢s / springÃ¢â¬ (7 -9) or the alliteration found Ã¢â¬Å"from hop-scotch and jump-ropeÃ¢â¬ (15) ,wish to return and repeat it because the lines are fun to say. This pleasant effect must be attributed to the speakerÃ¢â¬â¢s springtime revelry who also must wish to return to these activities if not for the constant stressful reminder of Ã¢â¬Å"the queer/ old balloonman [whistling] / far and weeÃ¢â¬ (11 - 13). The poemÃ¢â¬â¢s conflicting tempos add tension to the speakerÃ¢â¬â¢s springtime memory, but the slowing of the tempo through cummingsÃ¢â¬â¢s use of alliteration focuses the audience on the two emotional elements: springtime celebration and the ambivalence felt towards the ever-present Ã¢â¬Å"balloonManÃ¢â¬ (21). Ã¢â¬Å"in Just-Ã¢â¬ is probably a good example of a free-verse poem. The poemÃ¢â¬â¢s visual appearance might be compared to a page of dialogue within a drama-script . What makes cummingsÃ¢â¬â¢s 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.