Hostname: page-component-78c5997874-lj6df Total loading time: 0 Render date: 2024-11-02T21:59:15.237Z Has data issue: false hasContentIssue false

Diction, Voice, and Tone: The Poetic Language of E. E. Cummings

Published online by Cambridge University Press:  02 December 2020

Norman Friedman*
Affiliation:
University of Connecticut, Storrs

Extract

A dramatic necessity goes deep into the nature of the sentence. Sentences are not different enough to hold the attention unless they are dramatic. No ingenuity of varying structure will do. All that can save them is the speaking tone of voice somehow entangled in the words and fastened to the page for the ear of the imagination. This is all that can save poetry from sing-song, all that can save prose from itself.—Robert Frost, Foreword to A Way Out (1917)

Type
Research Article
Information
PMLA , Volume 72 , Issue 5 , December 1957 , pp. 1036 - 1059
Copyright
Copyright © Modern Language Association of America, 1957

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 All Blackmur quotations are from this essay. The essay originally appeared in the Hound and Horn, iv Jan.-March 1931), 163–192. When Blackmur reprinted it in The Double Agent (1935) he wrote in a footnote that “There would seem to be little modification of these notes necessary because of Eimi or the subsequent volumes of verse.” In a later review of 50 Poems, however, he apparently changed his mind somewhat: “But this reservation [regarding the vagueness of Cummings' language], formerly held to an extreme, does not now need to be; it is now but a cautionary reservation and applies to no more than half the new poems; for Mr. Cummings' practice has improved with his increasing interest, as it seems, in persuading his readers of the accuracy of the relationships which his words divulge” (Southern Rev., vii, 1941–42, 201–205). The fact still remains that he reprinted this essay in its original form once again in Language as Gesture (1952), and that it is also being reprinted widely today in various anthologies of literary criticism, and is, therefore, the lion in the path of any younger critic who wishes to discuss the virtues of Cummings' language. See, e.g., Robin E. Gajdusek, “… if you should wish a ring” (unpub. M.A. thesis, Columbia Univ., 1950); Robert E. Maurer, “E. E. Cummings: A Critical Study” (unpub. diss., Univ. of Wisconsin, 1955) and “Latter-Day Notes on E. E. Cummings' Language,” Bucknell Rev., v (May 1955), 1–23; Louis Calvin Rus, “Structural Ambiguity in the Poetry of E. E. Cummings” (unpub. diss., Univ. of Michigan, 1955); Rudolph Von Abele, “‘Only to Grow’: Change in the Poetry of E. E. Cummings,” PMLA, lxx (1955), 913–933. (Since this note was written, Blackmur's essay has been again reprinted in his Form and Value in Modern Poetry, Doubleday Anchor Books, 1957.)

2 All references are to poem and page numbers in the complete collected edition, Poems: 1923–1954 (New York: Harcourt, Brace, 1954); in the book some poems are designated by roman, some by arabic numerals. In cases where the chronology of this volume is misleading, I have substituted the correct date.

3 In a letter to me, referring to the devices of personification.

4 In a book, as yet unpublished, on Cummings' poetry, of which the bulk of this article forms one chapter.