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M OBAL IMTERPBETEB9S APPROACH to SELECTED An oral interpreter's approach to selected poems by E. E. Cummings Item Type text; Thesis-Reproduction (electronic) Authors Holmes, Susanne Stanford, 1941- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 02:44:40 Link to Item http://hdl.handle.net/10150/318940 m OBAL IMTERPBETEB9 S APPROACH TO SELECTED POEMS BY E, E. CUMMINGS "by Susanne Stanford Holmes A Thesis Submitted to the Faculty of the DEPARTMENT OF SPEECH In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS t- In The Graduate College THE UNIVERSITY OF ARIZONA 19 6 4 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable with­ out special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholar­ ship. In all other instances, however, permission must be obtained from the author. s iQ&m JjuAfwm JiM psid. fkJ/nM APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown belowj Q t o z t i * J L x / l i x T t , . ALETHEA SMITH MATTINGLY f f f t ~ (J Date Professor of Speech ACKNOWLEDGMENTS The author wishes to express gratitude to Alethea Smith Mattingly, Ph.D., Professor of Speech, for the inspira­ tion and invaluable guidance which made this thesis possible. Sincere appreciation is extended to Jack H. Howe, Ph.D, Associate Professor of Speech, and Klonda Lynn, Ph.D., Head of the Department of Speech, for their critical comments. iii TABLE OF CONTENTS CHAPTER PAGE I.. INTRODUCTION ................ I II. E. E. CUMMINGS, THE MAN AND THE POET . 6 Cummings the Man .............. 6 ■Cummings the Poet. „ . o .... 19 Cummings9 Concept of a Poet. ...... 19 Suggested Influences on Cummings8 PoO'fcny . .. o.o. o'.-. 20 General Critical Reception ....... 26 Summary...........o....... 31 III. AN APPLICATION OF THE CRITERIA FOR ANALYSIS TO CUMMINGS* POETRY ...... 33 Situational Components . ....... 33 Themes . ..o...# 33 Themes of Affirmation. ......... 36 Themes of Negation ........... W Diotion.. ^9 Thought Patterns .............. 58 Rhythm ...o.. ...... ....... 6 0 Summary. ...........e...... 71 IV. POEMS OF AFFIRMATION ............ 74 88 somewhere f i have never travelled, gladly beyond ................. 75 Situational Components ......... 75 Theme.....o............ 76 Diction. ........ ........ 7 6 Thought Patterns ............ 79 Rhythm ...... .......ooo. 6 0 Summary.. a . ...o 62 68a man who had fallen among thieves85 .... 84 Situational Components ......... 84 Theme.. ...o. 8 5 iv TABLE OF CONTENTS— Continued CHAPTER PAGE 3310 3«01fX ooooooooooooooooo 8 Thought Patterns • . •■• • • • • • • . • 88 P . h ^ r t h l H ooooooooooooooooo 8^ 8u3nin,ary o©<»oooooo«o&oeooo pl ?since feeling is first” • . * « • . # * • » 92 Situational Components © © © © © © © © © 92 Theme©e©©©©©©©©©©©©©©©© 93 Dietion© © © © © © © © © © © © © © © © © 98 Thought Patterns © ©'© © © , © © © © © © = 95 Ehythm © © © © © © © © © © © © © © © © © 9^ Summary©©©©o©©©©©©©©©©©© 9 7 **i thank you God for most this amazing”© © © 99 Situational Components © © © © © © © © © 99 Theme ©©©©©©©©© ©©©©©©©©© 99 DlCtlOn. oooooooooooooooo© 100 ' . Thought Patterns © © © © © © © © © © © © 102 fihythm ©o©©©©©©©©©©©©©©© 10 2 Summary• ©©©©©©© ................. 104 "what if a much of a which of a wind”© © © ©1 0 6 Situational Components © © © © © © © © © 106 Xheme© © © © © © © © © © © © © © © © © © 10 ^ 3D ICt ion ©oo. © ©0 ©e©eo©©»oo© 10 8 Thought Patterns © © © © © © © © © © © © 112 Hnythm ©o©©©©©©©©© ©©©©©© 1 1 5 Summary ©©©©©©©©©©©©o©©©© 118 V. POEMS OF NEGATION© © © © © © © ............. 119 "THANKSGIVING (1956)" * * « » * * . * * * * * 120 Situational Components © © © » © © © © » 120 Theme © © © © © © © © © © © © © © © © © © 121 Diction© oe©o©©ooo©©oo©o© 121 Thought Patterns © © © © © © © © © © © © 124 Ehythm ©©©©o©©©©©©©©©©©© 125 Summary © © © © * © © © © © © © © © © © © 128 v TABLE OP CONTENTS— Continued. CHAPTER - - " ' PAGE **Q sweet spontaneous^ • • • • • ' • 1 3 0 Situational Componentse •.•»••••«• 130 J?Ifieme « © © © © © © © ©■,© ©■© © © © © @ © 131 BlCtlOn ©oooooooooooeooo-o 131 Thought Patterns© © © © © © © © © © © © © 13^ Rhythm ©o © © © © o© © © © © © © © © © © 133 o urnmary © © © ©©©©©©© o©©©©©© 13*0 ^look at this)^ © © © © © © © © © 9 © © © © « 139 Situational Components© © © © © © © © © © © 139 Theme ©©©©©o©©©©©©©© ©©©©© 1^4*0 Diction, ©o©©©©©©©©©©©©©©©© l^vO Thought Patterns© © © © © © © © © © © © © © 142 Rhythm©©o©©©©©©©©©©©©©©©© 143 Summary © © ® © © © © © © © © © © © © © © © 144 "the Camhridge ladies who live in furnished S O Ul S o © © a o e e © © a © e © o © © © © ©1 ^4'3 Situational Components © © © © © © © © © © © 145 T h em e©©©©©©©©®©©©©©©©©©© 1.4 5 Diction ©©©©©o©©©©©®©©©©®© 146 Thought Patterns* © © © © © © © © © © © © © 148 Rhythm© © © © © © © © © © © © © © © © © © © 149 bummary © © © © © © © © © © © © © © © © © © 151 "a salesman is an it that stinks Excuse59 © © © © 153 Situational. Components © . ® © * © ......... 153 1heme© * © © © * © © © © © © ©. © © © © © © 153 DlCtlOn ooooooa©©©ee©e©ooo 15 4 Thought Patterns © © © © © © © © © © © © © © 156 Rhythm© © © © © © © © © © © © © © © © © © © 157 Summary © © © © © © © © © © © © © © © © © © 159 . VI. CONCLUSIONS.© © ©_ © © © © © © © © © © © © © © © 162 SELECTED BIBLIOGRAPHY© © © © © \ © ©. © © © © © © © © 168 vi ■ = ^ ABSTRACT ...... This study presents an oral interpreter's approach to selected poems by E, E. Cummings. First, relevant data on Cummings' life are given, and secondly, the general critical reception of Cummings" poetry and his relationship to other artists are discussed. Oral interpretation criteria for analysis— situational components, theme, diction, thought patterns, and rhythm— -are applied to the total scope of Cummings" poetry.. After a review of the poetry in general, there follows an analysis of ten poems, representative of the poet's themes, verse types, and volumes of poetry from 1923-1958. These poems a.re divided into those of affirma­ tion (Msomewhere i have never travelled,gladly beyond," ,$a man who had fallen among thieves," "since feeling is first," "i thank you God for most this amazing," "what if a much of a which of a wind”) and those of negation (»THANKSGIVING (1956)3® ”0 sweet spontaneous,” "look at this),” "the Cambridge ladies who live in furnished souls,” ”a salesman is an it that stinks Excuse”). The study concludes with critics' opinions on the suitability of Cummings' poetry for reading aloud, comments about E. E. Cummings as an oral reader, and an analysis of major problems faced by the oral interpreter in presenting Cummings' poems. vii CHAPTER I INTRODUCTION Inasmuch as E $ E. Cummings9 poetry appears in standard anthologies of modern poetry and inasmuch as critics like Babette Deutsoh, Lloyd Frankenberg, Theodore Spencer, and Horace Gregory regard Cummings as an important and difficult 1 twentieth century poet, his poetry seems a worthwhile and challenging source of material for the oral interpreter. To present this material, it is essential that the oral reader possess a deep understanding and rich appreciation of Cummings9 poems in order to evoke a desirable aesthetic re- ■ sponse from his audience, The interpreter cannot put his listeners into ”'possession® of the literature unless he him- 2 , ' self has assimilated it." The purpose of this study, there­ fore, is to put the oral interpreter in "possession" of selected poems by E. E. Cummings so that he may share his appreciation and understanding with audiences for whom he may read. 1 _ See critical comments quoted in Chapters il and III of this study. 2 " - Wilma H. Grimes and Alethea Smith Mattingly, Interpretations Writer, Reader, Audience (San Francisco, 1961), , p. sjr* ■ ■ 1 Before moving on to the steps of gaining 59possession95 of the poems, pertinent facts regarding Cummings as a man and as a poet are presented in Chapter II, Since the representa­ tive poems should be understood as segments of a whole,. Chapter III analyzes the total scope of Cummings9 poetry. The selected poems are examined critically in Chapters IV and V,. the former.containing the poems of affirmation, the latter those of negation. As indicated by the following charts, the selected poems are representative of Cummings9 major themes, verse forms, and collections of poems from 1923-1958$ THEME POEM I. Themes of Affirmation A. Love "somewhere i have never travelled,gladly beyond" B.- The individual 53a man who had fallen among thieves" C. Feeling since feeling is first D . Nature !i thank you God for most this amazing69 E. General Affirmation "what•if a much of a which of a wind” II, Themes of Negation A. Institutions 1. The State "THANKSGIVING (1956)” 2. Science, philo­ sophy, religion "0 sweet spontaneous” 3 o War "look at this)” 3 B. Individuals 1. Those who are standardized "the Cambridge ladies
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