Broj 19 Jun – Jul 2012
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
News, Notes, & Correspondence
News, Notes, & Correspondence The Theatre of E. E. Cummings Published In the News, Notes & Correspondence section of Spring 18, we re- ported that a new edition of The Theatre of E. E. Cummings was in the works, and—behold!—the book appeared on schedule at the beginning of 2013. This book, which contains the plays Him, Anthropos, and Santa Claus, along with the ballet Tom, provides readers with a handy edition of Cummings’ theatre works. The book also has an afterword by Norman Friedman, “E. E. Cummings and the Theatre,” which we printed in Spring 18 (94-108). The Thickness of the Coin In February, 2012 we received a card from Zelda and Norman Fried- man. They wrote: We are okay and want to tell you that the older we get the more skillful and wise E. E. Cummings becomes. Zelda has been trying to locate the line “love makes the little thickness of the coin” and came upon it accidentally in “hate blows a bubble of despair into” across the page in Complete Poems from “love is more thicker than forget”—the poem where she thought it might be. The Cummings-Clarke Papers at the Massachusetts Historical Society *In October 2012, Peter Steinberg of the Massachusetts Historical Society wrote to inform us that some of the Cummings-Clarke family papers con- taining “some materials by E. E. Cummings” had “recently been processed and made available for research.” Peter sent us the following “link to the finding aid / collection guide in hopes that you or your society members might be interested in learning about [the papers and] visiting the MHS”: http://www.masshist.org/findingaids/doc.cfm?fa=fa0367. -
Edward Estlin Cummings
Classic Poetry Series Edward Estlin Cummings - poems - Publication Date: 2004 Publisher: PoemHunter.Com - The World's Poetry Archive 1(a... (a leaf falls on loneliness) 1(a le af fa ll s) one l iness Edward Estlin Cummings www.PoemHunter.com - The World's Poetry Archive 2 all in green All in green went my love riding on a great horse of gold into the silver dawn. Four lean hounds crouched low and smiling the merry deer ran before. Fleeter be they than dappled dreams the swift red deer the red rare deer. Four red roebuck at a white water the cruel bugle sang before. Horn at hip went my love riding riding the echo down into the silver dawn. Four lean hounds crouched low and smiling the level meadows ran before. Softer be they than slippered sleep the lean lithe deer the fleet flown deer. Four fleet does at a gold valley the famished arrow sang before. Bow at belt went my love riding riding the mountain down into the silver dawn. Four lean hounds crouched low and smiling the sheer peaks ran before. Paler be they than daunting death the sleek slim deer the tall tense deer. Four tall stags at the green mountain the lucky hunter sang before. All in green went my love riding on a great horse of gold into the silver dawn. Four lean hounds crouched low and smiling my heart fell dead before. Edward Estlin Cummings www.PoemHunter.com - The World's Poetry Archive 3 anyone lived in a pretty how town anyone lived in a pretty how town (with up so floating many bells down) spring summer autumn winter he sang his didn't he danced his did. -
American Poetry the Twentieth Century
AMERICAN POETRY THE TWENTIETH CENTURY VOLUME TWO E. E. Cummings to May Swenson THE LIBRARY OF AMERICA Contents E. E. CUMMINGS (1894-1962) "All in green went my love riding," 1 "in Just- / spring when the world is mud-," 2 "Tumbling-hair / picker of buttercups," 3: "Humanity i love you," 3 "O sweet spontaneous," 4 "stinging / gold swarms," 5 ' "between green / mountains," 6 "Babylon slim / -ness of," 6 "ta / ppin / g / toe," 7 "Buffalo Bill 's / defunct," 7 "the Cambridge ladies who live in furnished souls," 8 "god pity me whom(god distinctly has)," 8 "Dick Mid's large bluish face without eyebrows," 9 "Spring is like a perhaps hand," 9 POEM,OR BEAUTY HURTS MR. VINAL, 10 "she being Brand," 12 "on the Madam's best april the," 13 MEMORABILIA, 14 "next to of course god america i," 15 "lis / -ten // you know what i mean when," 15 "my sweet old etcetera," 16 "Among / these / red pieces of," 17 "in spite of everything," 18 "since feeling is first," 18 "i sing of Olaf glad and big," 18 "twi- / is :Light bird," 20 _ "a clown's smirk in the skull,of a baboon," 20 "somewhere i have never travelled,gladly beyond," 21 "r-p-o-p-h-e-s-s-a-g-r," 22 "the boys i mean are not refined," 22 "as freedom is a breakfastfood," 23 "anyone lived in a pretty how town," 24 "my father moved through dooms of love," 25 "plato told," 27 "pity this busy monster,manunkind," 28 "a grin without a," 29 xi xii CONTENTS H. -
EDWARD ESTLIN CUMMINGS (1894-1962) - Poetry, Prose and Politics Or La Salle Enorme Revisited
EDWARD ESTLIN CUMMINGS (1894-1962) - Poetry, Prose and Politics or La Salle Enorme Revisited. Cummings has been regarded as one of the leading lyricists America has produced. His writing is well known for its typographical eccentricity. Neither of these aspects is my primary concern but when they intrude upon quotations (as they inevitably will) I ask that they at least be tolerated, if not appreciated. Cumming's novel The Enormous Room is about politics - not party politics nor petty local government-type politics, but petty world politics. The novel is only a 'novel' because it doesn't give the actual names of in- dividuals involved, otherwise it is a piece of documentary prose. In April 1917 Cummings and his friend Slater Brown joined the Norton-Har/es Amb- ulance Corps (an American volunteer unit serving in France). On September 21st, as a result of some letters of Brown being intercepted by a French censor, both Cummings and Brown were arrested and moved to La Ferte Mace detention/concentration camp. Cummings was not released until December 19th and then only as a result of desperate letters written by his father to the President of the United States. The Enormous Room is con- cerned with the seventy-odd men who lived in the eighty foot by forty foot room at the prison, and the manner in which they reacted to the confinement and torture. One of the most amazing aspects the two Americans noticed was their excitement at being among such a variety of characters. After his arrival and reintroduction to Brown (who had been moved independently and arrived before Cummings) Cummings asks whether or not they are in an asylum. -
News, Notes, & Correspondence a New Edition of a Miscellany
News, Notes, & Correspondence A New Edition of A Miscellany Revised Long out of print, E. E. Cummings: A Miscellany Revised (October House, 1965) has been republished by Liveright as E. E. Cummings: A Miscellany. Apart from being redesigned and reset in a new typeface, little has changed from the 1965 edition. As before, the book lacks a sorely-needed index, and has no new notes and no new introduction. (The publishers have retained Firmage’s cursory 1965 introduction and Cummings’ very short foreword to the first 1958 edition.) One welcomes the republication of the volume while regretting the lack of updated scholarly content. And curiously, the back cover of the new edition classifies this collection of essays and hu- morous squibs as “Poetry.” A Norton Critical Edition, E. E. Cummings: Selected Poetry Milton Cohen has edited a new volume in the Norton Critical Editions se- ries, called E. E. Cummings: Selected Works, with a publication date in 2019, the 125th anniversary of Cummings’ birth. The volume features an introduction, an annotated selection of poems from every collection of Cummings’ poems (with the exception of the posthumous Etcetera), and critical responses and articles, as well as excerpts from Him, The Enormous Room, and i: six nonlectures. The volume also features eight black and white reproductions of Cummings’ artwork, as well as a small group of letters, two pages of the aphorisms he called “Jottings,” and a selection of critical essays, a chronology, and a bibliography. The reproductions of Cummings’ art are prefaced by an “Overview” by Cohen, while the critical essays are fronted by a preface by Michael Webster. -
I He Norton Anthology Or Poetry FOURTH EDITION
I he Norton Anthology or Poetry FOURTH EDITION •••••••••••< .•' .'.•.;';;/';•:; Margaret Ferguson > . ' COLUMBIA UNIVERSITY >':•! ;•/.'.'":•:;•> Mary Jo Salter MOUNT HOLYOKE COLLEGE Jon Stallworthy OXFORD UNIVERSITY W. W. NORTON & COMPANY • New York • London Contents PREFACE TO THE FOURTH EDITION lv Editorial Procedures ' Ivi ACKNOWLEDGMENTS " lix VERSIFICATION lxi Rhythm lxii Meter lxii Rhyme lxix Forms Ixxi Basic Forms Ixxi Composite Forms lxxvi Irregular Forms Ixxvii Open Forms or Free Verse lxxviii Further Reading lxxx GEDMON'S HYMN (translated by John Pope) 1 FROM BEOWULF (translated by Edwin Morgan) 2 RIDDLES (translated by Richard Hamer) 7 1 ("I am a lonely being, scarred by swords") 7 2 ("My dress is silent when I tread the ground") 8 3 ("A moth ate words; a marvellous event") 8 THE WIFE'S LAMENT (translated by Richard Hamer) 8 THE SEAFARER (translated by Richard Hamer) 10 ANONYMOUS LYRICS OF THE THIRTEENTH AND FOURTEENTH CENTURIES 13 Now Go'th Sun Under Wood 13 The Cuckoo Song 13 Ubi Sunt Qui Ante Nos Fuerunt? 13 Alison 15 Fowls in the Frith 16 • I Am of Ireland 16 GEOFFREY CHAUCER (ca. 1343-1400) 17 THE CANTERBURY TALES 17 The General Prologue 17 The Pardoner's Prologue and Tale 37 The Introduction 37 The Prologue 38 VI • CONTENTS The Tale 41 The Epilogue 50 From Troilus and Criseide 52 Cantus Troili 52 LYRICS AND OCCASIONAL VERSE 52 To Rosamond 52 Truth 53 Complaint to His Purse 54 To His Scribe Adam 5 5 PEARL, 1-5 (1375-1400) 55 WILLIAM LANGLAND(fl. 1375) 58 Piers Plowman, lines 1-111 58 CHARLES D'ORLEANS (1391-1465) 62 The Smiling Mouth 62 Oft in My Thought 62 ANONYMOUS LYRICS OF THE FIFTEENTH CENTURY 63 Adam Lay I-bounden 63 I Sing of a Maiden 63 Out of Your Sleep Arise and Wake 64 I Have a Young Sister 65 I Have a Gentle Cock 66 Timor Mortis 66 The Corpus Christi Carol 67 Western Wind 68 A Lyke-Wake Dirge 68 A Carol of Agincourt 69 The Sacrament of the Altar 70 See! here, my heart 70 WILLIAM DUNBAR (ca. -
DOTTORATO DI RICERCA in STUDI EURO-AMERICANI CICLO XXIII An
DOTTORATO DI RICERCA IN STUDI EURO-AMERICANI CICLO XXIII An Investigation of E. E. Cummings’s Poetics Through His Individualist Politics Antonio Specchiulli A.A. 2010/2011 Tutor: Prof. John Paul Russo Coordinatore: Prof. Cristina Giorcelli Specchiulli 2 Table of Contents Chapter 1. Satire ..................................................................................................... 7 1.1. Satire and commitment: The persuasive function of poetry ........................... 7 1.2. “i sing of Olaf glad and big”: War ................................................................ 11 1.3. “red-rag and pink-flag / blackshirt and brown”: Totalitarianisms ................ 15 1.4. “the many on the few”: Democracy .............................................................. 22 1.5. “his royal warcry is I AM”: The Individual .................................................. 27 Chapter 2. Language: Wholeness and Reversals ................................................. 33 2.1. Introduction: The Grammar of Activism ...................................................... 33 2.2. Linear and Visual: Poems for the Eye .......................................................... 36 2.3. A Whole Language ....................................................................................... 47 2.4. Surprise and the Miracle of Language .......................................................... 54 2.5. Devices .......................................................................................................... 62 2.6.1. Typography ........................................................................................ -
Ee Cummings: Mirror and Arbiter of His
E. E. CUMMINGS: MIRROR AND ARBITER OF HIS AGE by ROBERT LOUIS McBROOM, B.A., M.A. A DISSERTATION IN ENGLISH Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved August, 1971 rJo. LD Clop. 2 ACKNOWLEDGMENTS I sim deeply indebted to Professor Everett A. Gillis for hi£ direction of this dissertation and to the other members of my committee, Professors Y/arren Stanley Walker and Floyd Eugene Eddleman, for their helpful criticism. 11 CONTENTS ACKNOWLEDGMENTS ii INTRODUCTION 1 PART ONE: THE AGE OP ANXIETY 4 I. Rise of the Age of Anxiety 4 II. Twentieth Century Characteristics: Alienation, Cynicism, Prustration, Rebellion 17 III. Cummings* View of His Age: Personal Statement 29 IV. Cummings' Position in Kodern American Verse: Critical Assessment 39 PAR TWO: CUmiNGS* KOLE AS AKTIST IN A lîASS SOCIETY 47 V. The rviOdern Poet as Activist 47 VI. Cummings* Poetry of Alienation 55 VII. Cumraings as Cynic: Satire and Irony .... 87 VIII. Cummings' Poetry of Frustration 112 IX. Cummings as Rebel Poet 128 PART THREE: CUMI^INGS AS A MODERN AT-IERICAN POET ... 160 X. The Affirmative Synthesis 160 SELECTED BIBLIOGRAPHY 167 APPENDIX 174 A. Poems of Alienation 175 11• 1• B. Cynical Poems 177 C. Poems of Prustration 182 D. Poems of Rebellion 183 E. Poems Exhibiting Some of All Characteristics 190 IV INTRODUCTION Of the many possible approaches to a piece of literature, the most objective is that one which limits itself to a concern with form. Certainly, a work of art should stand or fall on its own merit, regardless of its author, regardless of the time and culture in which it is written, as do, for example, the works of both greater artists—Sophocles, or Dante, or Shakespeare—and lesser ones—Villon, Chekhov, Dickens. -
The Ee Cummings Collection
Q&B Quill & Brush (301) 874-3200 Fax: (301)874-0824 E-mail: [email protected] Home Page: http://www.qbbooks.com THE E. E. CUMMINGS COLLECTION OF JOHN T. ORDEMAN “ . the enclosed is what I happen to believe.” --E. E.Cummings (see page 22) Patricia and Allen Ahearn 1137 Sugarloaf Mountain Road, Dickerson, MD 20842 When I was a graduate student at Columbia in the mid-1950s, I had the good fortune to choose as a topic for my master's thesis a comparison of E. E. Cummings' painting and his poetry. Perhaps because few people were, at that time, much interested in Cummings' work in the visual arts, which he considered to be as significant as his literary work, he granted my request for an interview. I was invited to tea–laced with rum–at Patchin Place. I returned several times as work on my dissertation progressed, and I was tremendously pleased when both Cummings and his wife Marion offered to read the first draft of An Author of Pictures, A Draughtsman of Words. They made several useful suggestions for the text, Cummings corrected a few spelling and punctuation errors and Marion took photographs of several paintings for me to use as illustrations. I began collecting Cummings' books and pictures as soon as I was gainfully employed, and I have continually added to my collection as I have been able to find and afford new acquisitions. I was particularly glad to be able to purchase some books that had been inscribed as gifts to his great friends Sibley and Hildegarde Watson and a few pictures that he had given to other friends. -
Edward Estlin Cummings
Classic Poetry Series Edward Estlin Cummings - 45 poems - Publication Date: 2012 Publisher: PoemHunter.Com - The World's Poetry Archive Edward Estlin Cummings (14 October 1894 - 3 September 1962) Edward Estlin Cummings, popularly known as E. E. Cummings, with the abbreviated form of his name often written by others in all lowercase letters as e. e. cummings, was an American poet, painter, essayist, author, and playwright. His body of work encompasses approximately 2,900 poems, an autobiographical novel, four plays and several essays, as well as numerous drawings and paintings. He is remembered as a preeminent voice of 20th century poetry, as well as one of the most popular. Birth and early years Cummings was born in Cambridge, Massachusetts, on October 14, 1894 to Edward and Rebecca Haswell Clarke Cummings. He was named after his father but his family called him by his middle name. Estlin's father was a professor of sociology and political science at Harvard University and later a Unitarian minister. Cummings described his father as a hero and a person who could accomplish anything that he wanted to. He was well skilled and was always working or repairing things. He and his son were close, and Edward was one of Cummings' most ardent supporters. His mother, Rebecca, never partook in stereotypically "womanly" things, though she loved poetry and reading to her children. Raised in a well-educated family, Cummings was a very smart boy and his mother encouraged Estlin to write more and more poetry every day. His first poem came when he was only three: "Oh little birdie oh oh oh, With your toe toe toe." His sister, Elizabeth, was born when he was six years old. -
Humor in the Poetry of Ii Cummings Approved
HUMOR IN THE POETRY OF I. I. CUMMINGS APPROVED: Major Professor /l C£>lsy Minor Professor / rector of' twe''Department of English Deair of the Graduate School HUMOR III THE POET1I OF E. S. CUMMINGS THESIS Presented to the Graduate Council of the Borth T©xas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By- Patrick Borden Mullen Denton, Texas June, 1965 TABLE OF CONTENTS Chapter Page I. INTRODUCTION ... ......... 1 II. HUMOROUS TECHNIQUES AID DEVICES 14 III. THE COMEDIES ........... 3? I?. THE SATIRES .......... 63 V. CONCLUSION .................. 92 BIBLIOGBAFHY 104 CHAPTER I INTRODUCTION In 1923 E. E. Cumaings published his first volume of P©@ms» Tulips and Chimneys. Forty years later his last book of poetry, 22 I&S&S.* came out. Over this span of years Cummings rose in stature from an obscure experimentalist to one of America's most widely read and acclaimed poets. During this entire period, the critics have disagreed sharply on the value of Cummings1 poetry# One group has steadfastly supported him as a major American poet whose poetry is sig- nificant in scope and meaning'for this or any age. The other group has severely attacked hiai as an adolescent roman- tic whose poetry is usually thin and repetitious. Sine® his death in 1962 there has been a renewed interest in his poetry, and many new studies have been made* They reveal mainly that the controversy over his importance still rages. Prophetically, the publication of Tulips and Chimneys met with varied critical reviews. Harriet Monroe, editor of Poetry at the time, was captured by Cummings* enthusiastic verse, "He is as agile and outrageous as & faun, and as full of delight over the beauties and monstrosities of the brilliant and grimy old planet."*- But another of her ^Harriet Monroe, "Flare and Blare," E.