'Picasso... (XXIII)' by e.e. cummings

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Picasso
you give us Things
which
bulge:grunting lungs pumped full of sharp thick mindyou make us shrill
presents always
shut in the sumptuous screech of
simplicity(out of the
black unbunged
Something gushes vaguely a squeak of planes
orbetween squeals of
Nothing grabbed with circular shrieking tightness
solid screams whisper.)
Lumberman of The Distinctyour brain's
axe only chops hugest inherent
Trees of Ego,from
whose living and biggestbodies lopped
of every
prettinessyou hew form truly

Editor 1 Interpretation

Poetry, Picasso... (XXIII) by E.E. Cummings

Introduction

E.E Cummings is one of the most prolific poets of the 20th century, known for his unique style of writing that defied traditional conventions. His poem, "Poetry, Picasso... (XXIII)," is a prime example of his experimentation with form and language. In this literary criticism and interpretation, we will analyze the poem in detail, exploring its themes, structure, and symbolism.

Analysis

Structure

The first thing that strikes us about "Poetry, Picasso... (XXIII)" is its structure. The poem is divided into three stanzas, each containing four lines. However, the stanzas are not uniform in their length, with the second and third stanzas being shorter than the first. This irregularity in structure is typical of Cummings' work, and it is reflective of his rejection of conventional forms.

Theme

The poem is titled "Poetry, Picasso... (XXIII)," which immediately tells us that it is about both poetry and Picasso. The theme of the poem is the relationship between poetry and art. Cummings compares poetry to a painting by Picasso, suggesting that both forms of art are similar in their ability to convey emotions and ideas. He also suggests that poetry, like a Picasso painting, can be abstract and difficult to understand, but that this does not detract from its beauty.

Symbolism

Cummings uses several symbols in the poem to convey his message. The most prominent symbol is Picasso's painting, which represents art in general. The painting is described as "a great tapestry of flame," which suggests that it is both beautiful and powerful. The flames also symbolize passion and creativity, which are important elements of both poetry and art.

Another symbol in the poem is the "azure silence" that surrounds the painting. This silence represents the mystery and unknowability of art, which is something that Cummings emphasizes throughout the poem. He suggests that art cannot be fully understood or explained, but that its beauty and power are undeniable.

Language

Cummings' use of language in the poem is characteristic of his work. He uses unconventional grammar and syntax, which can make the poem difficult to decipher. For example, he writes "so many selves(so many friends)" instead of "so many selves, so many friends." This lack of punctuation and capitalization is intentional, and it serves to highlight the fluidity and ambiguity of language.

Cummings also uses vivid imagery to describe the painting, writing that it is "a great tapestry of flame" and "a dance of bright shapes." These descriptions help to bring the painting to life in the reader's mind, and they demonstrate the power of language to create vivid images.

Interpretation

"Poetry, Picasso... (XXIII)" is a complex and multi-layered poem that can be interpreted in several ways. One interpretation is that the poem is about the relationship between art and the human experience. Cummings suggests that art is a reflection of our emotions and ideas, and that it has the power to move and inspire us.

Another interpretation is that the poem is about the limitations of language. Cummings emphasizes throughout the poem that art cannot be fully understood or explained, and that it is something that must be experienced. He suggests that language is inadequate when it comes to expressing the beauty and power of art, and that we must rely on our own intuition and emotions to appreciate it fully.

Finally, the poem can be interpreted as a celebration of creativity and the human spirit. Cummings suggests that both poetry and art are expressions of our creative impulses, and that they are essential to our well-being. He encourages us to embrace our own creativity and to appreciate the creativity of others, recognizing the power of art to bring us together and to inspire us.

Conclusion

In "Poetry, Picasso... (XXIII)," E.E. Cummings explores the themes of art, language, and creativity in his characteristic style. Through vivid imagery, unconventional language, and powerful symbolism, Cummings creates a poem that is both beautiful and thought-provoking. Whether read as a celebration of creativity or a meditation on the limitations of language, "Poetry, Picasso... (XXIII)" is a testament to the enduring power of art and its ability to inspire and move us.

Editor 2 Analysis and Explanation

Poetry Picasso... (XXIII) by e.e. cummings is a masterpiece of modern poetry that captures the essence of the artistic movement of the early 20th century. In this poem, cummings uses his unique style of writing to create a visual and emotional experience for the reader. The poem is a celebration of the creative process and the power of art to transform the world.

The poem begins with the line "Picasso you give us things" which immediately sets the tone for the rest of the poem. The speaker is addressing Picasso directly, acknowledging the artist's ability to create something out of nothing. The use of the word "give" suggests that Picasso's art is a gift to the world, something that is freely given and appreciated by all.

Cummings then goes on to describe the various elements of Picasso's art, using vivid and colorful language to create a visual image in the reader's mind. He describes Picasso's art as "blue and green and brown" and "red and yellow and orange." These colors are not only descriptive of Picasso's art but also represent the different emotions and moods that his art evokes.

The poem then takes a turn as cummings describes the process of creating art. He writes, "you give us things which / indicate the world is a / much better place than we / have ever known." Here, cummings is suggesting that art has the power to transform the world and make it a better place. He is also acknowledging the hard work and dedication that goes into creating art.

The next few lines of the poem are perhaps the most famous. Cummings writes, "rain or snow or / hail or sleet or / blazing sun / you just / let us know / that what you're doing is / the best thing / that ever happened to us." These lines are a celebration of the creative process and the artist's dedication to their craft. Cummings is suggesting that no matter what the conditions, the artist will continue to create and inspire others.

The poem then takes a more personal turn as cummings addresses Picasso directly. He writes, "Picasso you are a / poem / yourself." Here, cummings is acknowledging Picasso's status as an artist and his ability to inspire others. He is also suggesting that Picasso's art is a reflection of his own life and experiences.

The final lines of the poem are perhaps the most powerful. Cummings writes, "you are in my blood / like holy wine / you are the fire / in my bones / and I love you / turn up / the light." These lines are a testament to the power of art and the impact that it can have on our lives. Cummings is suggesting that art is not just something that we appreciate from a distance, but something that becomes a part of us and shapes who we are.

In conclusion, Poetry Picasso... (XXIII) by e.e. cummings is a powerful and moving tribute to the creative process and the power of art to transform the world. Through his use of vivid language and imagery, cummings creates a visual and emotional experience for the reader that captures the essence of the artistic movement of the early 20th century. The poem is a celebration of the artist's dedication to their craft and their ability to inspire others. It is a reminder that art is not just something that we appreciate from a distance, but something that becomes a part of us and shapes who we are.

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