A Apainter A Poet Essay Research Paper

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A Apainter A Poet Essay, Research Paper A Painter as a Poet Tammie K. Hamming Period 2 ” A painter as a Poet ” visual aB stract symbolic in tense ( an imated ) spo n tanious Inventive ill u( strative cOntemPor a r y Each of these words could easily describe the fervent brushstrokes on a painters canvas. However, it is the passion of E.E. Cummings poetry that they are meant to express. The words and designs of his works embody the same breathless quality contained in modern art. It is no surprise that he was an open-minded critic, attentive observer, inspired participant, and devoted lover of various art forms besides his renowned poetry. The concepts of impulsive creation which are evident in art are also apparent in Cummings’ poems. From the first publication of his

works to the last they have remained free of confining syntactic and rigid guidelines. The exact way an impressionist painter may use potent color to convey the essence of his paining; Cummings uses vivid words to attract the reader and make their subconscious feel his point before their mind understands it. The use of this rare technique is how he has originated a small miracle in each individual poem. By attaining a comprehension of Cummings’ relationship to art, a reader can be illuminated with a heightened respect for his unique and rousing poetry. In 1945, Estlin Cummings wrote this winsome dialogue between himself and a hypothetical interviewer: ” Oh yes, one more question: where will you live after this war is over? ” ” In China as usual. ” ” China? ” ” Of

course. ” ” Whereabouts in China? ” ” Where a painter is a poet. ” It playfully expresses his sense of art as a single, indivisible category. During his lifetime, from 1894 to 1962, he did not yield to any boundaries and promoted the intermingling of different artistic outlets. That mindset is what instigated his writing of the ballet, ” Tom ” based on Uncle Tom’s Cabin, a collection of his charcoal, pencil, and water color pictures entitled CICPW, Eimi, a journal of his trip to Soviet Russia, and Anthropos: The Future of Art. These other exceptional layers to his creative genius are revealed in his poetry in many ways. Finding them enables the reader to agree with his reference to himself as ” an author of pictures and a draftsman of words “. E.E. Cummings

was aware of the inevitable frustration readers may endure while studying the first page of his last volume of poetry, 95 poems. With that assumption in mind, he issued a warning: ” Watch out! This poem is not for the faint-hearted. It will not yield to those who merely want their prejudices caressed. Open up! ” This unconventional piece looked as follows: l(a le af fa ll s) one l iness Immediate arguments arose once it was exposed to the public in 1958, because as far as critics were concerned, it didn’t say anything. Its vital purpose was not to promote certain opinions or thoughts on loneliness. Instead, it was meant to leave the reader with a nostalgic feeling of it. The artistic design it forms on the page is an entity of genius in itself. From the ” L ” to the ”

iness ” the arrangement of letters is like that of a drifting leaf. Cummings has not deepened or extended the literal meaning of the leaf falling, instead, he has added to it a visual quality that is solely aesthetic. He has used the black print of a typewriter to ” paint ” the image across the page. It is much like a sculptor’s masterpiece which evokes a feeling without speaking of it. For example, ” The Thinker ” by Paul Rodin, even without the revealing title the bronze incarnation of a pensively posed man suggests the idea of thinking. Basically, Cummings has indulged the readers’ imagination by representing loneliness with ink and allowing their own perceptions to determine any further values. In Pablo Picasso’s paintings Cummings recognized a perspective