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

Upon looking at e. e. cummingss verse form, in Just-,perhaps, cardinal features immediately become apparent the use of white space between some intelligence services and lines, and the multiple use of a single word musical accompaniment an entire line. To a lesser degree, the poems visual too 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. 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 intensify 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 goat-footed balloonMan. The poems rapid and then measured tempo creates an artistic tension that coincides with the speakers account of a remembered spring. By employing white space, alliteration, compressed conjunctions, and some wrongful 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 afterward the for the first time line, in Just-, by cummings to emphasize the speakers observation that only in spring do the following things happen. The white space after spring in the back line suggests that the speaker ponders first what his audience later learns to be a springtime memory . The white space is sooner obviously used for the benefit of someone listening 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 simulate white space, and again, after spring when a child-like description defines what is uniquely available only in the spring. That is when the world is mud- / hot(lines 1-2). Almost immediately cumm ings 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 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 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 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 on tension to the speakers springtime memory, but the slowing of the tempo through cummingss use of alliteration focuses the audience on t he devil 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 boot and emphatic tones, add the repetitive refrains for accent and syncopation and one could set this poem to music.