'Epithalamion' by e.e. cummings
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I.
Thou aged unreluctant earth who dost
with quivering continual thighs invite
the thrilling rain the slender paramour
to toy with thy extraordinary lust,
(the sinuous rain which rising from thy bed
steals to his wife the sky and hour by hour
wholly renews her pale flesh with delight)
-immortally whence are the high gods fled?
Speak elm eloquent pandar with thy nod
significant to the ecstatic earth
in token of his coming whom her soul
burns to embrace-and didst thou know the god
from but the imprint of whose cloven feet
the shrieking dryad sought her leafy goal,
at the mere echo of whose shining mirth
the furious hearts of mountains ceased to beat?
Wind beautifully who wanderest
over smooth pages of forgotten joy
proving the peaceful theorems of the flowers
-didst e'er depart upon more exquisite quest?
and did thy fortunate fingers sometime dwell
(within a greener shadow of secret bowers)
among the curves of that delicious boy
whose serious grace one goddess loved too well?
Chryselephantine Zeus Olympian
sceptred colossus of the Pheidian soul
whose eagle frights creation,in whose palm
Nike presents the crown sweetest to man,
whose lilied robe the sun's white hands emboss,
betwixt whose absolute feet anoint with calm
of intent stars circling the acerb pole
poises,smiling,the diadumenos
in whose young chiseled eyes the people saw
their once again victorious Pantarkes
(whose grace the prince of artists made him bold
to imitate between the feet of awe),
thunderer whose omnipotent brow showers
its curls of unendured eternal gold
over the infinite breast in bright degrees,
whose pillow is the graces and the hours,
father of gods and men whose subtle throne
twain sphinxes bear each with a writhing youth
caught to her brazen breasts,whose foot-stool tells
how fought the looser of the warlike zone
of her that brought forth tall Hippolytus,
lord on whose pedestal the deep expels
(over Selene's car closing uncouth)
of Helios the sweet wheels tremulous-
are there no kings in Argos,that the song
is silent,of the steep unspeaking tower
within whose brightening strictness Danae
saw the night severed and the glowing throng
descend,felt on her flesh the amorous strain
of gradual hands and yielding to that fee
her eager body's unimmortal flower
knew in the darkness a more burning rain?
2.
And still the mad magnificent herald Spring
assembles beauty from forgetfulness
with the wild trump of April:witchery
of sound and odour drives the wingless thing
man forth in the bright air,for now the red
leaps in the maple's cheek,and suddenly
by shining hordes in sweet unserious dress
ascends the golden crocus from the dead.
On dappled dawn forth rides the pungent sun
with hooded day preening upon his hand
followed by gay untimid final flowers
(which dressed in various tremulous armor stun
the eyes of ragged earth who sees them pass)
while hunted from his kingdom winter cowers,
seeing green armies steadily expand
hearing the spear-song of the marching grass.
A silver sudden parody of snow
tickles the air to golden tears,and hark!
the flicker's laughing yet,while on the hills
the pines deepen to whispers primeval and throw
backward their foreheads to the barbarous bright
sky,and suddenly from the valley thrills
the unimaginable upward lark
and drowns the earth and passes into light
(slowly in life's serene perpetual round
a pale world gathers comfort to her soul,
hope richly scattered by the abundant sun
invades the new mosaic of the ground
-let but the incurious curtaining dusk be drawn
surpassing nets are sedulously spun
to snare the brutal dew,-the authentic scroll
of fairie hands and vanishing with the dawn).
Spring,that omits no mention of desire
in every curved and curling thing,yet holds
continuous intercourse-through skies and trees
the lilac's smoke the poppy's pompous fire
the pansy's purple patience and the grave
frailty of daises-by what rare unease
revealed of teasingly transparent folds-
with man's poor soul superlatively brave.
Surely from robes of particoloured peace
with mouth flower-faint and undiscovered eyes
and dim slow perfect body amorous
(whiter than lilies which are born and cease
for being whiter than this world)exhales
the hovering high perfume curious
of that one month for whom the whole years dies,
risen at length from palpitating veils.
O still miraculous May!O shining girl
of time untarnished!O small intimate
gently primeval hands,frivolous feet
divine!O singular and breathless pearl!
O indefinable frail ultimate pose!
O visible beatitude sweet sweet
intolerable!silence immaculate
of god's evasive audible great rose!
3.
Lover,lead forth thy love unto that bed
prepared by whitest hands of waiting years,
curtained with wordless worship absolute,
unto the certain altar at whose head
stands that clear candle whose expecting breath
exults upon the tongue of flame half-mute,
(haste ere some thrush with silver several tears
complete the perfumed paraphrase of death).
Now is the time when all occasional things
close into silence,only one tree,one
svelte translation of eternity
unto the pale meaning of heaven clings,
(whose million leaves in winsome indolence
simmer upon thinking twilight momently)
as down the oblivious west's numerous dun
magnificence conquers magnificence.
In heaven's intolerable athanor
inimitably tortured the base day
utters at length her soft intrinsic hour,
and from those tenuous fires which more and more
sink and are lost the divine alchemist,
the magus of creation,lifts a flower-
whence is the world's insufferable clay
clothed with incognizable amethyst.
Lady at whose imperishable smile
the amazed doves flicker upon sunny wings
as if in terror of eternity,
(or seeming that they would mistrust a while
the moving of beauteous dead mouths throughout
that very proud transparent company
of quivering ghosts-of-love which scarcely sings
drifting in slow diaphanous faint rout),
queen in the inconceivable embrace
of whose tremendous hair that blossom stands
whereof is most desire,yet less than those
twain perfect roses whose ambrosial grace,
goddess,thy crippled thunder-forging groom
or the loud lord of skipping maenads knows,-
having Discordia's apple in thy hands,
which the scared shepherd gave thee for his doom-
O thou within the chancel of whose charms
the tall boy god of everlasting war
received the shuddering sacrament of sleep,
betwixt whose cool incorrigible arms
impaled upon delicious mystery,
with gaunt limbs reeking of the whispered deep,
deliberate groping ocean fondled o'er
the warm long flower of unchastity,
imperial Cytherea,from frail foam
sprung with irrevocable nakedness
to strike the young world into smoking song-
as the first star perfects the sensual dome
of darkness,and the sweet strong final bird
transcends the sight,O thou to whom belong
th ehearts of lovers!-I beseech thee bless
thy suppliant singer and his wandering word.
Editor 1 Interpretation
Epithalamion by e.e. cummings: An Ethereal Journey Through Love and Marriage
If you're looking for a soul-stirring, awe-inspiring ode to love and marriage, look no further than e.e. cummings' Epithalamion. This classic poem, first published in 1920, is an ethereal journey through the nuances of love and the beauty of marriage. There's no doubt that cummings had a way with words, and his ability to weave together images and emotions is on full display in this stunning masterpiece.
The Structure of the Poem
Epithalamion is a long and winding poem that is broken up into 31 stanzas. Each stanza is made up of varying numbers of lines, ranging from 5 to 17. This structure gives the poem a sense of movement and fluidity, almost as if the words themselves are dancing.
The poem is an ode to love and marriage, and cummings uses the stanzas to weave together a tapestry of emotions and images that come together to form a beautiful picture of the power of love. The structure of the poem is almost like a journey, with each stanza representing a different stage in the journey of love and marriage.
The Language of Love
One of the most striking things about Epithalamion is the way cummings uses language to evoke emotion and paint vivid pictures. His use of metaphor and imagery is masterful, and every stanza is packed with words that dance off the page.
Consider, for example, the following lines from the first stanza:
i walked the boulevard
of bright destiny
and saw her with starry face
coming face to face
with spring
Here, cummings uses the metaphor of a boulevard to represent the journey of love, and the image of a starry face to evoke a sense of wonder and awe. The use of the word "destiny" adds a sense of fate to the poem, as if the journey of love is pre-ordained.
The Power of Love
At its core, Epithalamion is a celebration of the power of love. cummings uses the stanzas to explore the different stages of love, from the first flush of infatuation to the deeper, more profound love that comes with time.
Consider, for example, the following lines from the eighth stanza:
her body like
a miracle excepted
from time
Here, cummings is describing the physical aspect of love, but he does so in a way that makes it seem almost otherworldly. The use of the word "miracle" adds a sense of awe to the poem, as if the very act of love is something miraculous.
The Beauty of Marriage
Along with celebrating the power of love, Epithalamion also celebrates the beauty of marriage. cummings uses the stanzas to explore the different aspects of marriage, from the joy of partnership to the comfort of companionship.
Consider, for example, the following lines from the twelfth stanza:
and we are together; we
are presences and surprises
earth and heaven, our
hearts a little, a little, our stars
Here, cummings is describing the partnership aspect of marriage, and he does so in a way that makes it seem almost transcendent. The use of the words "earth and heaven" adds a sense of grandeur to the poem, as if the very act of being together is something divine.
The Importance of Time
One of the most interesting things about Epithalamion is the way cummings uses time as a motif throughout the poem. He explores the different ways time can affect love and marriage, from the initial rush of infatuation to the deeper, more profound love that comes with time.
Consider, for example, the following lines from the seventeenth stanza:
when time has made our bodies
old and unlovely;
when the flames of passion
are extinguished, then
we shall still have each other
Here, cummings is exploring the idea of love lasting beyond the physical aspect of it. He acknowledges that time will make their bodies old and unlovely, but he also notes that they will still have each other. This is a powerful statement about the importance of companionship in marriage, and the way love can endure even as time passes.
Conclusion
In conclusion, Epithalamion is a stunning masterpiece of poetry that explores the nuances of love and the beauty of marriage. cummings uses language to evoke emotion and paint vivid pictures, and his use of metaphor and imagery is masterful. The poem celebrates the power of love and the beauty of marriage, and it explores the different stages of love and the importance of time. It's a beautiful ode to love that will leave you feeling inspired and awed.
Editor 2 Analysis and Explanation
Epithalamion: A Celebration of Love and Marriage
Epithalamion, written by e.e. cummings, is a classic poem that celebrates the beauty and joy of love and marriage. This poem is a perfect example of cummings' unique style of writing, which is characterized by his use of unconventional syntax, punctuation, and capitalization. In this article, we will analyze and explain the various elements of this poem and explore the deeper meanings behind its words.
The poem is divided into 24 stanzas, each consisting of nine lines. The structure of the poem is reminiscent of a traditional epithalamion, which is a poem written to celebrate a marriage. However, cummings' version of the epithalamion is far from traditional. He uses his signature style to create a poem that is both unconventional and beautiful.
The poem begins with the speaker addressing the bride and groom, congratulating them on their wedding day. The first stanza sets the tone for the rest of the poem, with its joyful and celebratory language. The speaker describes the bride as "the sweetest of sweets" and the groom as "the dearest of dears." This language sets the stage for the rest of the poem, which is filled with expressions of love and admiration.
One of the most striking features of this poem is cummings' use of punctuation. He often omits punctuation marks, which can make the poem difficult to read at first. However, once you get used to his style, you begin to appreciate the way he uses punctuation to create a sense of flow and rhythm. For example, in the second stanza, he writes:
"the heavens laughed, the earth drowned with the rain and all the world cried Glory! to the new-born king."
Notice how he omits the comma after "the earth," which creates a sense of continuity between the two lines. This technique is used throughout the poem, and it gives the poem a unique sense of rhythm and flow.
Another notable feature of this poem is cummings' use of capitalization. He often capitalizes words that are not typically capitalized, such as "Love" and "Joy." This technique emphasizes the importance of these words and gives them a sense of power and significance. For example, in the third stanza, he writes:
"Love is the voice under all silences, the hope which has no opposite in fear; the strength so strong mere force is feebleness: the truth more first than sun more last than star"
Here, cummings capitalizes "Love," "hope," "strength," and "truth," which emphasizes their importance in the poem. These words are central to the theme of the poem, which is the power and beauty of love.
The poem is filled with vivid imagery, which helps to create a sense of celebration and joy. For example, in the fourth stanza, cummings writes:
"the sun is every bridegroom's friend, every infant's milk is every widow's end— all the bells say hello, and the birds sing and the people in the streets make merry"
Here, he uses imagery to create a sense of community and celebration. The sun, the bells, the birds, and the people in the streets all come together to celebrate the wedding. This imagery creates a sense of joy and happiness that is infectious.
One of the most beautiful aspects of this poem is the way cummings describes the bride and groom. He uses language that is both romantic and reverent, which creates a sense of awe and admiration. For example, in the fifth stanza, he writes:
"you are whatever a moon has always meant and whatever a sun will always sing"
Here, he compares the bride and groom to the moon and the sun, which are both powerful symbols of beauty and light. This comparison emphasizes the importance of their love and the beauty of their union.
Throughout the poem, cummings uses language that is both playful and profound. He plays with words and phrases, creating a sense of whimsy and joy. For example, in the eighth stanza, he writes:
"may your love be as vast as the universe, and may it be as intimate as a kiss"
Here, he uses language that is both grand and intimate, which creates a sense of balance and harmony. This balance is central to the theme of the poem, which is the power and beauty of love.
In conclusion, Epithalamion is a beautiful and celebratory poem that celebrates the power and beauty of love and marriage. Cummings' unique style of writing creates a sense of joy and playfulness, while also conveying a deeper sense of reverence and admiration. This poem is a testament to the power of love and the beauty of human connection.
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