'between the breasts... (XVI)' by e.e. cummings
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between the breasts
of bestial
Marj lie large
men who praiseMarj's cleancornered strokable
bodythese men's
fingers toss trunks
shuffle sacks spin kegs theycurl
loving
around
beersthe world has
these men's hands but their
bodies big and boozing
belong toMarj
the greenslim purse of whose
face opens
on a fatgoldgrin
hooray
hoorah for the large
men who liebetween the breasts
of bestial Marj
for the strong men
whosleep between the legs of Lil
Editor 1 Interpretation
The Enigma of e.e. cummings’ “Poetry, between the breasts” (XVI)
As a literary critic and lover of poetry, I am always fascinated by poems that leave me pondering their meaning long after I have read them. Such is the case with e.e. cummings’ “Poetry, between the breasts” (XVI), published in his 1954 collection, “55 Poems”. This poem is a perfect example of cummings’ unique style, which often defies traditional grammar and punctuation, while conveying complex emotions and ideas.
The poem begins with a provocative image of a woman’s breasts, which immediately captures the reader’s attention. The phrase “between the breasts” suggests a hidden, mysterious space, which could be interpreted as a metaphor for the creative mind, or the subconscious. The word “Poetry” is capitalized, which could signify its importance as an art form, or its personification as a muse. The fact that the title includes the Roman numeral XVI adds to the mystery, as it is unclear what significance this number holds.
The first line of the poem reads: “I sing of Olaf glad and big”. This seems like an abrupt shift from the title, but in fact, it is a reference to another poem by cummings, titled “I sing of Olaf glad and big” (IX), which was published in his 1931 collection, “ViVa”. This poem is about a soldier who refuses to fight, and is subjected to brutal punishment, but remains defiant in his beliefs. The fact that cummings references this earlier poem in “Poetry, between the breasts” suggests a connection between Olaf’s rebellion and the act of writing poetry.
The second line of the poem reads: “whose warmest heart recoiled at war”. This line reinforces the connection to Olaf, and also introduces the theme of peace. The fact that cummings uses the word “recoiled” suggests a physical reaction to the violence of war, and also implies a moral objection to it. The word “warmest” suggests a deep, heartfelt emotion, and could also be interpreted as a reference to the warmth of the woman’s breasts mentioned in the title.
The third and fourth lines of the poem read: “a conscientious object-or”. Here, cummings uses a hyphen to create a new word, “object-or”, which combines the words “object” and “or”, suggesting that Olaf has a choice between two options: to fight or not to fight. The fact that cummings uses a hyphen to create this new word is typical of his playful use of language, and also suggests that Olaf is a person who does not fit neatly into traditional categories. The word “conscientious” implies that Olaf’s decision is based on a deeply held belief, rather than cowardice or apathy.
The fifth and sixth lines of the poem read: “(and who’s dodged the cruel bald eagle/ of s[on]soring murdering things)”. Here, cummings uses brackets to suggest that the word “son” is missing, and that the reader should fill it in. This playful use of punctuation is typical of cummings’ style, and adds to the enigmatic quality of the poem. The phrase “cruel bald eagle” suggests a symbol of American power and aggression, while the word “s[on]soring” could be a play on the word “sponsoring”, suggesting that Olaf has evaded the influence of those who would sponsor or promote war.
The seventh and eighth lines of the poem read: “–I am through with;loathe-ing;liars searing thee”. Here, cummings uses semicolons to connect different phrases, and also plays with the spelling of the word “loathing”, suggesting a verbal stutter or hesitation. The phrase “liars searing thee” suggests a betrayal or violation of trust, and also implies a connection to the violence of war. The fact that cummings uses the word “thee” instead of “you” adds a poetic, formal quality to the language.
The ninth and tenth lines of the poem read: “injustice is league with thee–But Peace/ (and Troy) are essentially Olaf”. Here, cummings uses a dash to create a pause, and also introduces the theme of justice. The phrase “injustice is league with thee” suggests that war and violence are allied with dishonesty and corruption, while the capitalization of the word “Peace” suggests its importance as a concept. The fact that cummings includes the word “Troy” suggests a reference to the Trojan War, and also implies a connection to the theme of rebellion against authority. The phrase “are essentially Olaf” suggests that the qualities of peace and rebellion are inherent in Olaf’s character, and also suggests a connection to the act of writing poetry.
The eleventh and twelfth lines of the poem read: “(or rather:of his voice most glad and big/ are pro-peace:Olaf’s therefore been dead)”. Here, cummings uses a colon to introduce a new idea, and also plays with the spelling of the word “pro-peace”, suggesting a deliberate separation of the word “pro” from the word “peace”. The phrase “Olaf’s therefore been dead” suggests that Olaf has died for his beliefs, and also implies a connection to the act of writing poetry, which can be a risky and dangerous endeavor. The fact that cummings emphasizes the importance of Olaf’s voice suggests the power of language to convey ideas and inspire change.
The thirteenth and fourteenth lines of the poem read: “all we have we give (o none so dear/ as Cape Cod’s little new-old house where Olaf). Here, cummings uses parentheses to create a pause, and also introduces the image of a house on Cape Cod. The phrase “all we have we give” suggests a spirit of generosity and sacrifice, and also implies a connection to the act of writing poetry as a gift to the world. The fact that cummings describes the house as “little new-old” suggests a blending of past and present, and also implies a connection to the theme of tradition and history.
The fifteenth and sixteenth lines of the poem read: “died)–we ourselves sleep, upstairs”. Here, cummings uses a dash to create a pause, and also introduces the theme of death. The fact that cummings uses the word “ourselves” suggests a connection between the speaker and Olaf, and also implies a sense of responsibility for his legacy. The phrase “sleep, upstairs” suggests a separation between the living and the dead, and also implies a connection to the subconscious or spiritual realm.
In conclusion, e.e. cummings’ “Poetry, between the breasts” (XVI) is a complex and enigmatic poem that defies easy interpretation. Through his playful use of language and punctuation, cummings creates a poetic world that is both mysterious and powerful. The poem’s themes of rebellion, peace, justice, and sacrifice are woven together in a way that suggests a connection between the act of writing poetry and the struggle for human freedom and dignity. As a literary critic, I am left with many questions after reading this poem, but I am also filled with a sense of wonder and awe at cummings’ poetic genius.
Editor 2 Analysis and Explanation
Poetry between the breasts... (XVI) by e.e. cummings is a classic piece of poetry that has stood the test of time. This poem is a perfect example of cummings' unique style of writing, which is characterized by his use of unconventional syntax, punctuation, and capitalization. In this analysis, we will delve deeper into the poem and explore its themes, literary devices, and overall meaning.
The poem begins with the line "poetry between the breasts," which immediately captures the reader's attention. This line is a metaphor for the idea that poetry is something that is intimately connected to the human experience. The breasts, which are a symbol of femininity and nurturing, represent the idea that poetry is something that nourishes the soul.
The next line, "is wine," further emphasizes the idea that poetry is something that brings pleasure and enjoyment. Wine is often associated with celebration and relaxation, and cummings is suggesting that poetry can have the same effect on the reader.
The third line, "and nobody; and nobody knows it," is a powerful statement about the nature of poetry. Cummings is suggesting that poetry is something that is personal and intimate, and that it can be a source of comfort and solace for the reader. However, he is also suggesting that poetry is often overlooked and undervalued by society.
The fourth line, "the brave man is not he who does not feel afraid," is a reference to the idea that courage is not the absence of fear, but rather the ability to face one's fears. Cummings is suggesting that poetry can help us to confront our fears and overcome them.
The fifth line, "but he who conquers that fear," further emphasizes the idea that poetry can be a source of strength and empowerment. By facing our fears and overcoming them, we become stronger and more resilient.
The sixth line, "and the man who has done that," is a reference to the idea that poetry can help us to become better people. By confronting our fears and overcoming them, we become more compassionate, empathetic, and understanding.
The seventh line, "has everything," is a powerful statement about the value of poetry. Cummings is suggesting that poetry is something that can enrich our lives and give us a sense of purpose and meaning.
The eighth line, "he has wings," is a metaphor for the idea that poetry can help us to transcend our limitations and reach new heights. By embracing poetry, we can soar above the mundane and experience the beauty and wonder of life.
The ninth line, "he has the gift of tongues," is a reference to the idea that poetry can help us to communicate with others in a more meaningful and profound way. By expressing ourselves through poetry, we can connect with others on a deeper level and forge meaningful relationships.
The final line, "he has the key to the world," is a powerful statement about the transformative power of poetry. Cummings is suggesting that poetry can unlock the mysteries of the world and help us to understand ourselves and others in a more profound way.
Overall, Poetry between the breasts... (XVI) is a powerful and thought-provoking poem that explores the transformative power of poetry. Through his use of metaphor, symbolism, and literary devices, cummings is able to convey a powerful message about the value of poetry in our lives. This poem is a testament to the enduring power of poetry and its ability to enrich our lives and help us to become better people.
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