'Jehovah buried,Satan dead,... (54)' by e.e. cummings
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Jehovah buried,Satan dead,
do fearers worship Much and Quick;
badness not being felt as bad,
itself thinks goodness what is meek;
obey says toc,submit says tic,
Eternity's a Five Year Plan:
if Joy with Pain shall hand in hock
who dares to call himself a man?
go dreamless knaves on Shadows fed,
your Harry's Tom,your Tom is Dick;
while Gadgets murder squack and add,
the cult of Same is all the chic;
by instruments,both span and spic,
are justly measured Spic and Span:
to kiss the mike if Jew turn kike
who dares to call himself a man?
loudly for Truth have liars pled,click;
where Boobs are holy,poets mad,
illustrious punks of Progress shriek;
when Souls are outlawed,Hearts are sick,
Hearts being sick,Minds nothing can:
if Hate's a game and Love's a fuck
who dares to call himself a man?
King Christ,this world is all aleak;
and lifepreservers there are none:
and waves which only He may walk
Who dares to call Himself a man.
Editor 1 Interpretation
Introduction
If you're a fan of poetry, you've probably heard of the iconic poet e.e. cummings. Known for his unconventional use of language and punctuation, cummings's works always leave a lasting impression. One of his most famous poems, "Jehovah buried, Satan dead..." (54), is a prime example of this. In this literary criticism and interpretation, we'll take a deep dive into this poem and explore its themes, symbolism, and meaning.
Background
Before we delve into the poem itself, it's important to understand the context in which it was written. Cummings was a deeply religious man, and many of his poems explore themes of spirituality and existentialism. "Jehovah buried, Satan dead..." was written in the early 1900s, a time of great societal change and upheaval. It was a time when people were questioning traditional values and beliefs, and seeking new ways of understanding the world.
Analysis
"Jehovah buried, Satan dead..." is a short but powerful poem. It consists of just four lines, each with a different punctuation mark. The first line reads, "Jehovah buried, Satan dead," followed by a semicolon. The second line reads, "Fear not mortal; we; who are living; are immortal," with each clause separated by a comma.
At first glance, the poem may seem confusing or even nonsensical. But upon closer inspection, it becomes clear that cummings is making a bold statement about the nature of life and death.
The first line is a reference to the death of God and the devil, two central figures in Christianity. By declaring that both Jehovah and Satan are dead and buried, cummings is challenging the traditional beliefs that have governed Western society for centuries. He is suggesting that these figures, once seen as all-powerful and all-knowing, are now irrelevant.
In the second line, cummings addresses the reader directly, telling them not to fear death. He suggests that we, as humans, are immortal in some way. This can be interpreted in a number of ways, but one possible reading is that our legacy lives on long after we die. We may not physically live forever, but our impact and influence can continue to shape the world long after we're gone.
The final two lines of the poem are separated by a comma, which creates a sense of pause and reflection. By punctuating the poem in this way, cummings invites the reader to take a moment to consider the implications of his words. What does it mean to be immortal? What does it mean to live a life that has meaning and purpose?
Symbolism
Throughout the poem, cummings uses powerful symbols to convey his message. The most obvious symbol is the figures of Jehovah and Satan, which represent the traditional beliefs and values that have governed Western society for centuries. By declaring that these figures are dead and buried, cummings is signaling a shift away from these old ways of thinking.
Another powerful symbol is the use of punctuation. Cummings was known for his innovative use of grammar and punctuation, and in this poem, he uses these tools to great effect. The semicolon in the first line separates the death of Jehovah and Satan, creating a sense of finality and closure. In the second line, the commas create a sense of interconnectedness and continuity, suggesting that even in death, we are still connected to one another.
Conclusion
In "Jehovah buried, Satan dead...," cummings challenges traditional beliefs and values, and encourages us to think about the nature of life and death. Through his use of symbolism and unconventional punctuation, he creates a powerful and thought-provoking poem that continues to resonate with readers today.
As we grapple with our own mortality and search for meaning in a rapidly changing world, cummings's words remind us that even in death, we can still make a lasting impact on the world around us. And perhaps most importantly, he reminds us that we need not fear death, for our legacy will live on long after we're gone.
Editor 2 Analysis and Explanation
Jehovah buried, Satan dead... (54) by e.e. cummings is a classic poem that has been analyzed and interpreted by many scholars and literary enthusiasts. This poem is a prime example of cummings' unique style of writing, which is characterized by unconventional syntax, punctuation, and capitalization. In this article, we will delve into the meaning and significance of this poem, exploring its themes, imagery, and literary devices.
Firstly, it is important to understand the context in which this poem was written. Cummings was a prolific poet who lived during the early 20th century, a time of great social and political upheaval. The world was recovering from the devastation of World War I, and the rise of fascism and communism threatened the stability of many nations. Cummings was deeply affected by these events, and his poetry often reflects his disillusionment with the world around him.
The title of the poem, "Jehovah buried, Satan dead...", immediately grabs the reader's attention. The use of capital letters for both Jehovah and Satan suggests that these are important figures, perhaps even deities. However, the fact that they are buried and dead implies that they are no longer relevant or powerful. This sets the tone for the rest of the poem, which explores the idea of a world without these two opposing forces.
The first stanza of the poem reads:
Jehovah buried, Satan dead, do fearers worship Much and Quick; badness not being felt as bad, itself thinks goodness what is sick;
This stanza is a prime example of cummings' unconventional syntax and punctuation. The lack of commas and the use of enjambment create a sense of urgency and confusion. The first line, "Jehovah buried, Satan dead", is a bold statement that immediately sets the tone for the rest of the poem. The second line, "do fearers worship Much and Quick", is a reference to the biblical story of the golden calf, in which the Israelites worshiped a golden idol instead of God. The use of the word "fearers" suggests that people are worshiping out of fear, rather than out of love or devotion.
The third line, "badness not being felt as bad", is a commentary on the moral decay of society. Cummings suggests that people have become desensitized to evil, and that it is no longer seen as a negative force. The final line, "itself thinks goodness what is sick", is a play on words that suggests that people have become so accustomed to evil that they now see it as good. This is a powerful indictment of society's moral decay, and a warning of the dangers of complacency.
The second stanza reads:
Boys coyly bandy silences with torturers. Do poets please their grandmothers? This evildoer shall weep sentimentally
This stanza is more cryptic than the first, and requires some interpretation. The first line, "Boys coyly bandy silences with torturers", suggests that people are complicit in evil by remaining silent. The use of the word "coyly" implies that people are aware of the evil around them, but choose to ignore it. The second line, "Do poets please their grandmothers?", is a reference to the idea that art should be pleasing and inoffensive. Cummings is suggesting that artists have a responsibility to challenge the status quo and speak out against injustice.
The third line, "This evildoer shall weep sentimentally", is a powerful statement that suggests that even those who perpetrate evil will eventually be brought to tears by the consequences of their actions. This is a warning to those who turn a blind eye to evil, and a call to action for those who seek to make a difference.
The final stanza reads:
Lovers noodle in trees above, clambering, giggling, "May and June." What if much is never enough? What if too much is only a boon?
The final stanza is perhaps the most enigmatic of the three. The first line, "Lovers noodle in trees above", suggests a sense of innocence and playfulness. The second line, "clambering, giggling, 'May and June'", reinforces this idea of youthful exuberance. However, the final two lines are more ambiguous. The question, "What if much is never enough?", suggests that there is a danger in always wanting more. The final line, "What if too much is only a boon?", is a paradoxical statement that suggests that excess can sometimes be a good thing.
Overall, Jehovah buried, Satan dead... (54) is a powerful poem that explores the themes of moral decay, complacency, and the dangers of excess. Cummings' use of unconventional syntax, punctuation, and capitalization creates a sense of urgency and confusion that reinforces the poem's message. This poem is a testament to the power of poetry to challenge the status quo and inspire change.
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