One of the most original poets in the history of the English language has been e.e. cummings, writing in the middle of the 20th century. After reading his poetry, you may ask, “Is he
innovative, or crazy, or not even a poet?” His techniques are unmistakably inventive and he is credited with breaking entirely new ground in poetry. A careful look through one of his poems will help make it more accessible and enjoyable.
in time of daffodils who know
1. in time of daffodils who know
2. the goal of living is to grow)
3. forgetting why, remember how
The poem begins with the use of personification to suggest that daffodils can think in the human sense. They seem to be wise enough to know the true goal of living. Their wisdom implies being lively and spontaneous. They need to forget why they are living, and concentrate on how to stay happily alive.
In terms of pattern, notice the last word in each line: know, grow, how. The third line seems to rhyme, but once spoken aloud, we realize that cummings has tricked us into seeing a rhyme that doesn’t exactly rhyme. He sets a pattern and quickly breaks his own rules. That is the defiance of poetry: the willingness to create or break rules as the poet feels is best.
4. in time of lilacs who proclaim
5. the aim of waking is to dream,
6. remember so (forgetting seem)
cummings continues to personify flowers in this stanza. Lilacs proudly proclaim their knowledge, rather than simply tell their knowledge. The second line is ironic because we expect to dream while sleeping, but the lilacs teach us to dream while awake. Line 6 contains wisdom, but teaches us in a grammatically unexpected manner. Normally, we remember a person, a place or a feeling, while this line asks us to remember so and to forget seem. He implies that we should concentrate on things as they truly are, not as they seem to be.
Read this stanza aloud and notice the repeating alliteration of the /m/ sound in both the beginning and end of each line. Observe his rhyme pattern through the remainder of the poem.
7. in time of roses (who amaze
8. our now and here with paradise)
9. forgetting if, remember yes
Each stanza introduces a fresh flower. Each flower has a strong and unique verb to show its “personality.” In line 8, now and here emphasizes the lively and spontaneous theme suggested in the first stanza. Once again, the third line in each stanza provides a “law” about life. Forgetting if, remember yes in line 9 echoes the concept of remember so (forgetting seem) in line 6. He concentrates on the real, actual parts of life, and encourages us to ignore “if” and “maybe.”
10. in time of all sweet things beyond
11. whatever mind may comprehend,
12. remember seek (forgetting find)
For the first time in the poem, cummings directly refers to the human mind in line 11. This develops the personification of flowers in relation to the human mind. Line 12 provides another suggestion to guide our lives. He values the abstract, uncertain joy of seeking, more than the concrete measure of reaching our goals. He teaches us that the joy of living is experience of life rather than being successful.
13. and in a mystery to be
14. (when time from time shall set us free)
15. forgetting me, remember me
The whole poem is guiding us to understand the mysteries of nature, time, and freedom. The final line of the poem seems to contradict itself. How can we forget him and remember him at the same time?
By attaining freedom, we may forget the flowers themselves. On the other hand, in our joy of freedom, we recall the wisdom of the flowers with appreciation.
Poetic Irony
Irony is a special treat to the reader of poetry, leading to exciting new insights by cleverly twisting our expectations. Here are a few basic definitions to help you identify irony in poetry.
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Irony means stating one thing, while implying anotherIrony means to suggest one direction, then take the other Irony is opposition between literal and symbolic meaning Irony occurs between what we expect and what we receive |
Ironically, cummings is both radical and conservative at the same time. He uses strange, bizarre grammar and sentence structure, but maintains predictable and traditional use of end rhyme. The reader might expect the whole poem to be modern and liberal, but upon close inspection, finds a conservative rhyme pattern. What other cases of irony can you find in the poem?