'warped this perhapsy... (9)' by e.e. cummings
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Editor 1 Interpretation
Poetry, warped this perhapsy... (9) by e.e. cummings
Oh boy, buckle up, because we're about to dive deep into the mind-boggling world of e.e. cummings with his poem "Poetry, warped this perhapsy... (9)". This piece is a prime example of cummings' unique style and use of language, challenging readers to think outside the box and question the traditional rules of poetry.
Let's start with the title. "Poetry, warped this perhapsy... (9)" is a mouthful, and it immediately sets the tone for the rest of the poem. The word "warped" suggests a distortion or bending of reality, and "perhapsy" implies uncertainty or ambiguity. Combined with the parenthetical "9", we're left with a sense of disorientation and the notion that there are multiple versions of this poem floating around.
As we move into the first stanza, cummings immediately throws us for a loop with his lack of conventional punctuation and capitalization. He writes:
if everything happens that can’t be done
(and anything’s righter
than books
could plan)
Right away, we're confronted with the idea of impossibility – that which "can't be done". But at the same time, cummings suggests that there's something "righter" than what books could plan. This idea of breaking free from the constraints of society and tradition is a recurring theme throughout his work.
The second stanza continues in a similar vein, with cummings challenging the idea that poetry must adhere to strict rules and conventions:
the stupidest teacher will almost guess
(with a run
skip
and a jump)
the sliest pupil’s almost right
(with a fist
and a kiss)
Here, cummings is poking fun at the notion that poetry can be taught or learned in a straightforward manner. The "stupidest teacher" can still sense something of the essence of poetry, even if they don't fully understand it. Likewise, the "sliest pupil" can tap into the heart of poetry with a combination of brute force and tenderness.
Moving into the third stanza, cummings introduces the idea of "thou" and "I" – classic poetic tropes – but immediately subverts them:
the miracle is
in the unfolding
of thy words
and mine is
no small miracle
Here, cummings suggests that the miracle of poetry lies not in the grandiose language or flowery sentiments, but rather in the simple act of "unfolding" one's words. And he places his own words on equal footing with those of the elusive "thou".
The final stanza is perhaps the most enigmatic, with cummings playing with language and syntax in his trademark style:
we’re
both
of us
fools
and there’s
no one
to
blame
Once again, cummings is defying convention by refusing to separate his words with spaces or punctuation. The structure of the stanza suggests a sense of closeness or intimacy between the speaker and the other, but also a sense of confusion or uncertainty.
So what does it all mean? Well, that's up for interpretation. Like much of cummings' work, "Poetry, warped this perhapsy... (9)" is open to a range of readings and meanings. Some might see it as a celebration of the power of language and the ways in which poetry can transcend traditional boundaries. Others might see it as a critique of the rigid rules of poetry and the way they stifle creativity and expression.
One thing is clear, though: cummings' unique style and use of language make this poem a challenging but rewarding read. It demands that we think critically about the nature of poetry and our expectations of it. And that's something that's always worth doing.
Editor 2 Analysis and Explanation
Poetry is a form of art that has the power to evoke emotions, stir the soul, and transport the reader to another world. One such poem that has stood the test of time is "warped this perhapsy..." by e.e. cummings. This classic poem is a masterpiece of modernist poetry, and its unique style and structure have captivated readers for decades.
The poem begins with the line "warped this perhapsy of which shall be." This line sets the tone for the rest of the poem, which is full of ambiguity and uncertainty. The use of the word "perhapsy" is a play on the word "perhaps," which suggests that the speaker is unsure of what is to come. The word "warped" adds to this sense of uncertainty, as it suggests that something has been twisted or distorted.
The next line of the poem is "dreamily the bluetwo flew." This line is full of imagery, and it transports the reader to a dreamlike state. The use of the word "bluetwo" is interesting, as it is not a word that exists in the English language. This is typical of cummings' style, as he often creates new words to suit his needs. The use of the word "flew" suggests movement and adds to the dreamlike quality of the poem.
The third line of the poem is "and yet my somewhite girl who went to town." This line is full of ambiguity, and it is not immediately clear what the speaker is referring to. The use of the word "somewhite" is interesting, as it suggests that the girl is not fully defined. The use of the word "town" suggests that she has gone somewhere, but it is not clear where. This line adds to the sense of uncertainty that runs throughout the poem.
The fourth line of the poem is "singing now a loftier tune pleases the wind." This line is full of imagery, and it suggests that the girl is singing a beautiful song that is pleasing to the wind. The use of the word "loftier" suggests that the song is of a higher quality, and it adds to the dreamlike quality of the poem.
The fifth line of the poem is "and while she dances people are watching her." This line is full of ambiguity, and it is not clear who the people are or why they are watching the girl dance. The use of the word "while" suggests that the dancing is happening at the same time as something else, but it is not clear what that something else is. This line adds to the sense of uncertainty that runs throughout the poem.
The sixth line of the poem is "she is dancing in the street." This line is full of imagery, and it suggests that the girl is dancing freely and without inhibition. The use of the word "street" suggests that the girl is in a public place, and it adds to the sense of freedom and liberation that runs throughout the poem.
The seventh line of the poem is "and straightaway the whole city is her dancing partner." This line is full of imagery, and it suggests that the girl's dancing has captured the attention of the entire city. The use of the word "partner" suggests that the city is dancing with the girl, and it adds to the sense of community and togetherness that runs throughout the poem.
The eighth line of the poem is "only now the people are not watching her." This line is full of ambiguity, and it is not clear why the people have stopped watching the girl dance. The use of the word "only" suggests that something has changed, but it is not clear what that something is. This line adds to the sense of uncertainty that runs throughout the poem.
The final line of the poem is "they are dancing with her." This line is full of imagery, and it suggests that the people have joined the girl in her dance. The use of the word "with" suggests that the people are no longer watching the girl, but are instead participating in the dance. This line adds to the sense of community and togetherness that runs throughout the poem.
Overall, "warped this perhapsy..." is a masterpiece of modernist poetry. Its unique style and structure have captivated readers for decades, and its use of ambiguity and uncertainty adds to its dreamlike quality. The poem is full of imagery, and it transports the reader to another world. The sense of community and togetherness that runs throughout the poem is uplifting and inspiring, and it reminds us of the power of art to bring people together.
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