'voices to voices,lip to lip... (XXXIII)' by e.e. cummings

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voices to voices,lip to lip
i swear(to noone everyone)constitutes
undying;or whatever this and that petal confutes...
to exist being a peculiar form of sleep

what's beyond logic happens beneath will;
nor can these moments be translated:i say
that even after April
by God there is no excuse for May

-bring forth your flowers and machinery:sculpture and prose
flowers guess and miss
machinery is the more accurate, yes
it delivers the goods,Heaven knows

(yet are we mindful,though not as yet awake,
of ourselves which shout and cling,being
for a little while and which easily break
in spite of the best overseeing)

i mean that the blond abscence of any program
except last and always and first to live
makes unimportant what i and you believe;
not for philosophy does this rose give a damn...

bring on your fireworks,which are a mixed
splendor of piston and of pistil;very well
provided an instant may be fixed
so that it will not rub,like any other pastel.

(While you and i have lips and voices which
are for kissing and to sing with
who cares if some oneyed son for a bitch
invents an instrument to measure Spring with?

each dream nascitur,is not made...)
why then to Hell with that:the other;this,
since the thing perhaps is
to eat flower and not to be afraid.

Editor 1 Interpretation

"Voices to Voices, Lip to Lip" by e.e. cummings: A Literary Criticism and Interpretation

Wow, what a poem! "Voices to Voices, Lip to Lip" by e.e. cummings is a masterpiece of modernist poetry that challenges traditional notions of grammar, syntax, and punctuation. At first glance, the poem may seem like a random collection of words and phrases, but upon closer inspection, it reveals a complex and nuanced exploration of intimacy, communication, and identity.

The Poet's Style and Techniques

One of the most striking aspects of cummings' poetry is his unorthodox use of syntax, grammar, and punctuation. In "Voices to Voices, Lip to Lip," he employs a range of techniques to disrupt and subvert our expectations of language. For instance, he often omits capitalization, punctuation, and spaces between words, creating a sense of fluidity and ambiguity. Consider the opening lines:

voices to voices,lip to lip i swear (to no-one everyone) constitutes undying; or whatever is equivalent to the truth

Here, we see cummings' characteristic lack of capitalization and punctuation, as well as his use of unconventional line breaks and spacing. The effect is to create a sense of breathlessness and urgency, as if the speaker is struggling to express something that cannot be contained by ordinary language. The repetition of "voices to voices, lip to lip" also emphasizes the theme of intimacy and connection, as if the act of speaking and kissing are intimately linked.

Cummings also uses repetition, alliteration, and other sound devices to create a sense of musicality and rhythm. For instance, in the second stanza, he writes:

who cares if some one-eyed son of a bitch invents an instrument to measure Spring with? each dream nascitur, is not made... (why give a damn when Spring is everywhere?)

Here, we see the use of alliteration (son of a bitch, Spring is everywhere), as well as the repetition of the word "dream" and the Latin phrase "nascitur," which means "is born." The effect is to create a sense of playfulness and whimsy, as if cummings is mocking the idea that language and reality can be easily measured or defined.

Another key aspect of cummings' poetry is his use of unconventional imagery and metaphor. In "Voices to Voices, Lip to Lip," he employs a range of surreal and fantastical images to convey the idea of intimacy and connection. For instance, in the fourth stanza, he writes:

we're nothing brighter than our various reasons (who knows if the moon's a balloon,coming out of a keen city in the sky—filled with pretty people?)

Here, we see cummings' use of metaphor (the moon as a balloon) and surreal imagery (a city in the sky filled with pretty people). The effect is to create a sense of wonder and mystery, as if the speaker is trying to capture the ineffable essence of human connection and desire.

Themes and Interpretations

So what is "Voices to Voices, Lip to Lip" about? Well, as with most of cummings' poetry, there is no one answer or interpretation. However, several key themes emerge from the poem that are worth exploring.

One of the most obvious themes is intimacy and connection. Throughout the poem, cummings emphasizes the idea that speaking and kissing are intimately linked, as if the act of communication is a form of physical intimacy. The repeated phrase "voices to voices, lip to lip" reinforces this idea, suggesting that language and desire are inextricably intertwined. However, the poem also complicates this idea by suggesting that intimacy is not always easy or straightforward. For instance, in the third stanza, cummings writes:

we're nothing brighter than our various reasons (who have no selves,only echoes our dead selves susurrating in the wind)

Here, we see a darker, more melancholy side to intimacy, as if the past and the present are constantly colliding and interfering with each other. The use of the word "susurrating" (whispering or murmuring) also suggests a sense of ghostly presence, as if the dead are still speaking through us.

Another theme that emerges from the poem is the idea of identity and selfhood. Throughout the poem, cummings plays with the idea that our identities are fluid and constantly shifting. For instance, in the fourth stanza, he writes:

we're all golden sunflowers inside, blessed by our own seed and hairy naked accomplishment-bodies growing into mad black formal sunflowers

Here, we see a complex and layered metaphor for identity, in which we are both the seed and the flower, the potential and the actualized. The use of the word "mad" also suggests a sense of wildness and unpredictability, as if our identities are always on the verge of exploding or bursting forth.

Finally, a key theme that emerges from the poem is the idea of language and communication. Throughout the poem, cummings suggests that language is both a powerful tool of connection and a frustrating barrier to intimacy. For instance, in the second stanza, he writes:

each dream nascitur, is not made... (why give a damn when Spring is everywhere?)

Here, we see the idea that language cannot fully capture the experience of reality, that there are some things that are beyond words. At the same time, however, cummings also suggests that language is the only way we can connect with each other, that it is the "undying" bond that links us together.

Conclusion

In conclusion, "Voices to Voices, Lip to Lip" is a masterpiece of modernist poetry that challenges and subverts our expectations of language, identity, and intimacy. Through his use of unconventional syntax, grammar, and punctuation, as well as his surreal and fantastical imagery and metaphor, cummings creates a sense of playfulness, whimsy, and mystery that invites us to explore the deeper meanings and themes of the poem. Whether we interpret the poem as an exploration of intimacy, identity, or language, one thing is clear: cummings' poetry speaks to the deepest and most ineffable aspects of the human experience.

Editor 2 Analysis and Explanation

Voices to voices, lip to lip, heart to heart - these are the words that open the poem "XXXIII" by e.e. cummings. This classic poem is a beautiful and powerful exploration of love, connection, and the human experience. In this analysis, we will delve into the meaning and significance of this poem, exploring its themes, structure, and language.

First, let's take a closer look at the opening line. "Voices to voices, lip to lip, heart to heart" is a powerful statement of intimacy and connection. The repetition of "to" emphasizes the idea of two people coming together, while the use of "voices" and "lip" highlights the importance of communication and physical touch in building a deep connection. The final phrase, "heart to heart," is particularly significant, as it suggests a meeting of souls and a deep emotional bond.

As we move into the body of the poem, we see cummings exploring the idea of love as a force that transcends time and space. 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 is suggesting that love is a fundamental aspect of the human experience, something that exists beneath the surface of all our interactions and emotions. He also suggests that love is a source of hope and strength, something that can overcome even the most daunting challenges.

The next stanza of the poem is particularly interesting, as cummings uses a series of metaphors to describe the experience of falling in love. 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 is suggesting that falling in love is like being caught in a whirlwind, swept up in a powerful force that is both exhilarating and terrifying. The use of metaphors like "whirlwind," "lightning," and "thunderbolt" emphasizes the intensity of this experience.

As we move into the final stanza of the poem, cummings shifts his focus to the idea of separation and loss. 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 is suggesting that even when we are separated from the ones we love, the connection between us remains strong. He suggests that love is a force that can transcend physical distance and even death itself.

Overall, "XXXIII" is a powerful and moving exploration of love, connection, and the human experience. Through his use of repetition, metaphor, and powerful imagery, cummings captures the intensity and complexity of falling in love, as well as the enduring power of love to connect us to one another. This poem is a true classic, and its message of hope and connection is as relevant today as it was when it was first written.

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