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Even the frustration some people experience with the poetry, is explained by the same dynamics of Cummings writing. The speed employed by Cummings require agility of mind, which sharpen perception. Some people are plainly irritated by the Cummings expression, because it does not yield itself to an ordinary mind of the contemporary society. The Cummings words are much harder to get grasp of compared to the monotony conventional Georgian poetasters. Cummings l is a good illustration to this point (a, " the first poem in his 95 Poems (1958), was the prototypical parenthetic poem (Powers, Kate) The form the poet chose is not arbitrary, though it may seem like that. Cummings split the word loneliness, with a short sentence, a leaf falls, thus enhancing the power of the image.
This the sentence is "parenthesized" by the word. However, "loneliness: a leaf falls, " is too dull for Cummings, therefore, he chooses to hide the statement by applying the schema of dispersion. He breaks words into separate lines employing some pattern different from its original structure, that adds a new dimension, the typographical level, which is of primary importance in this Impressionist poem, this makes use of the layout on the page, which usually conveys little meaning. This way word loneliness can have additional flavor by featuring word one, thus further emphasizing the picture of desolation. In addition to typographical level, the original layout creates a sonic level.
It creates whispers characteristic of autumnal forest: the els make a moaning, windy noise, and the esse's and effs sound like leaves rustling along the ground. Using only a few words and original approach Cummings definitely creates a reach image. It seems that the only way for Cummings to express himself, is by breaking the familiar and old. A good example of this was originally published in August of 1940 as number "I. " of "Five Poems" in Poetry; it was collected as " 29 " in 50 Poems, published in the same year. Cummings skillfully sheds schizophrenic hues in poem to show craziness of normal people. "anyone lived in a pretty how town" which tells the story of a person named "anyone" and his lover, "noone" (that is to say, no one). He dweller in a town where "women and men... / cared for" him "not at all. " People of the town inhabit the world of negative, but some of their children guessed that there was someone in town, the woman named "noone, " who loved him, yet even the children forgot this as they grew older, turned into adults, and joined the ranks of "most people. " Nevertheless, "noone" loved "anyone" so much that his "any was all to her. " The life of the every villager seemed to follow the same template, "someones married their everyones, " the children grew up, and "anyone" and "noone" grew old.
Then "one day anyone died i guess / and noone stooped to kiss his face, " but nobody cared. Eventually "noone" died as well, and "busy folk buried them side by side. " Still, life went on; people continued to follow their gloomy ways, completely unaware of natural beaty that surrounds them. Yet, univocal meaning would be uncharacteristically simple for Cummings the poet put exactly the opposite meaning, in the same lines, as though he is warning his reader against hastily made decisions. For instance, line four of the third stanza can be either, "Noone loved him, " or "no one loved him. ." Stanza seven has the same quality "one day Anyone died, " or "one day anyone died, " anyone at all, and either "Noone stooped to kiss his face" or "no one" did.
Who are Anyone and Noone? Are they the same as most people? There is a purposely built-in ambiguity in the poem, and this quality is pertinent to many Cummings works.
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