Ms. Howard-Bender
January
7, 2008
Period
5
“Critical
Analysis of e.e. cummings”
e.e. cummings is perhaps one of the most unusual contemporary poets. His work has been challenging readers to think “outside of the box” before this phrase ever
came into existence. An excellent example of cummings’s ability to challenge
his readers in his poem, “this little bridge and groom are.” Through a discussion of the [dramatic situation,] the [imagery] used, the [theme,] the [diction,] the
[syntax,] and the [figurative language,] the reader will understand the lasting impact of cummings’s poem on poetry
in general. The dramatic situation provides the context of the rest of the
poem.
It is unsure who the speaker of the poem is. One could assume that it
is an attendant at a wedding who is describing the wedding cake, or perhaps someone at a bakery. It is also unclear to whom the speaker is talking, but one could also conjecture
that the narrator is having some kind of inner monologue as he plays with words and describes the cake. He could also be speaking to the actual bride and groom at a wedding or even people who are thinking about
getting married. The speaker has a somewhat careless tone* toward the subject
of the poem, the cake. It seems that he is more concerned about playing with
words than actually providing an accurate description. In the lines, “very
much more/ big & kinder of ring,” cummings is using the word “kinder” in an unexpected fashion (cummings,
lines 12-13). “Kinder” is being used as a comparative term to differentiate the rings of cake. By the
end of the poem, the reader has a clear picture of the wedding cake.
It is only through imagery* that cummings employs that the reader can deduce that he is talking about a wedding cake:
…he dressed
in black candy she
veiled with candy white
carrying a bouquet of
pretend flowers…
(cummings, lines 13-17).
The reader knows that a groom would be dressed in black, but in this poem, he is described as wearing “black
candy.” Most likely a groom would not actually wear a suit made out of
candy, and as such, through his imagery, cummings paints a picture of a bride and groom cake topper. The same could be said for the representation of the bride. Veils
are usually made of lace, not candy, and most times brides carry real flowers, not “pretend” ones. This odd depiction of the cake topper leads the reader to the theme of the poem.
Marriage is most likely not one of cummings’s
favorite institutions, as could be inferred with this poem. He is drawing a comparison
between the cake topper and marriage itself. If one were to read the first few
lines and the last few lines together, based on the parenthesis usage, one could create a new statement: “ …(because / nothing really exists” “this little bride & groom are standing)…”
(cummings, lines 19-20 & 1-2). Thematically * speaking, cummings is revealing
that the only reason to be standing, waiting to be wedded, is because we do not exist.
Of course, because one is able to read the poem, and one knows that one exists, this is illogical. Thus, the only logical conclusion that one can make is that cummings sees no place for marriage in the
real world.
cummings
has created a sort-of unreal world in his poem. He invents words or uses words
in extremely unconventional manners:
…this candy
little bride & little
groom in it kind of stands on
10
a thin ring which stands on a much
less thin very much more
big & kinder of ring & which
kinder of stands on a
much more than very much
15
biggest & thickest & kindest
of ring… (cummings, lines 8-16).
The word “it”
in line refers back to “a kind of crown” in lines 2-3. In order to
show the difference in size between the rings of cake, cummings makes up usages of words, such as “very much more big”
and “kinder of ring.” All of these words previously existed in the
English language; however, the use of them is novel, and could potentially be misleading to a reader. Certainly grammarians would have a hard time getting past cummings’s word choices. Perhaps his utilization of such words is meant to reinforce his theme: nothing really exists, so why
bother?
To add to the challenging diction, cummings plays
with line lengths as well. Enjambment
is used throughout the poem, forcing the reader to get to the next line to finish the previous thought: “are cake & everything is protected by” (cummings, line 18). Here he leaves the reader on the edge of his/her seat wondering what everything could possibly be protected
by, until the next line finally finishes out the thought: “cellophane…”
(cummings, line 19). There is no standard length to the lines, nor any distinct poetic meter to be discerned. Though he does not subscribe to a standard method of poetic form, cummings does in fact employ examples
of figurative language.
The most evident use of figurative language is the use of understatement*. His
last line of poetry says “nothing really exists” (cummings, line 20). One
would think that if he were writing a poem about questioning existence, one would not have to wait until the last line to
find that out. As such, it is logical that he included this in the last line
as an intentional afterthought to underplay the importance of the overall message. This
is also to some degree an example of irony* because the reader does not expect the ending.
It comes as quite the surprise.
Whenever
one reads poetry, one should be challenged. Previous conceptions and misconceptions
should be tested. cummings is achieves this “call to thought” in
his readers in his poetry. He stands the test of time and analytical scrutiny,
and he implores us to continue to question our existence, not to mention the method by which we discuss it.
Works Cited
cummings,
e.e. “this little bride & groom are.” E. E. Cummings: Complete Poems:
1904-1962. Ed.
George James Firmage. New York:
Liveright Publishing Corporation, 1994. 62.
