By E. E. Cummings
E.e. cummings is with no query one of many significant poets of this century, and this quantity, first released in 1959, is vital for each lover of contemporary lyrical verse. It includes 100 of cummings’s wittiest and such a lot profound poems, harvested from thirty-five of the main noticeably artistic years in modern American poetry. those poems show the entire amazing lyricism, playfulness, technical ingenuity, and compassion for which cummings is known. They reveal superbly his extrapolations from conventional poetic buildings and his departures from them, in addition to the original synthesis of lavish imagery and acute inventive precision that has received him the adulation and recognize of critics and poetry enthusiasts everywhere.
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S. avant-gardes. Victorian poetry, Crane learned, was yesterday’s news. The leading lights in AngloAmerican poetry were con¤dently asserting in the time-honored manner of tastemakers that “we” had outgrown the ¤n de siècle. 16 In his essay “Swinburne as Poet,” T. S. Eliot takes it as a given that “the present generation” no longer has any use for such juvenile writing: [A]greed that we do not (and I think that the present generation does not) greatly enjoy Swinburne, and agreed that (a more serious condem- You are reading copyrighted material published by the University of Alabama Press.
26 Crane analogizes Pocahontas, the recurrent “mythological nature symbol” that represents “the physical body of the continent,” to “Hertha of ancient Teutonic mythology” (O My 345)—the very goddess who serves as the eponymous speaker of Swinburne’s most ambitious cosmological statement, “Hertha” (“I the grain and the furrow, / The plough-cloven clod. . ” [SCP 2:138]). If Crane does have Swinburne’s “Hertha” in mind, then it would mean that Swinburne stands behind the architectonics of Crane’s epic and that Swinburne’s pantheism, espoused so memorably in “Hertha,” might very well be a source for Crane’s redemptive vision of America as a sprawling goddess, the sum of its land and peoples.
S. Copyright law is illegal and injures the author and publisher. For permission to reuse this work, contact the University of Alabama Press. how american • 35 upon mine I permit you, / With the comrade’s long-dwelling kiss, or the new husband’s kiss (114) Whoever you are, now I place my hand upon you, that you be my poem (200) But there appears to be another, closer parallel. Here is a passage from Swinburne’s “Ave Atque Vale,” in which the Victorian poet imagines consummation with his own literary hero, the Frenchman Charles Baudelaire: Not thee, but this the sound of thy sad soul, The shadow of thy swift spirit, this shut scroll I lay my hand on, and not death estranges My spirit from communion of thy song— These memories and these melodies that throng Veiled porches of a Muse funereal— These I salute, these touch, these clasp and fold As though a hand were in my hand to hold.
100 Selected Poems by E. E. Cummings