"she being Brand"

Part I
Wow. Sounds like somebody needs a cold shower. As I read the lines of E.E Cummings’ she being Brand, I thought, perhaps, an alternative interpretation existed, but by the second verse, the euphemisms were difficult to avoid. I did, however, expect more than the stereotypical male comparison of women and cars. I was, however, intrigued by the use of form in this poem. I could not help but read the poem in the rhythmic pattern that Cummings forces the reader into, suggesting intercourse. Quite impressive.

Part II
she being Brand by E.E. Cummings, is a poem about sexual intercourse. The brilliance in this piece is not the metaphor he uses, but the style in which these words are written. The objective correlative of breaking in a new car is a clear reference to the stereotypical comparison of a woman’s physique to that of an automobile. The speaker narrates as he “thoroughly oile[s] the universal joint” and “nug[es] ([his] lev-er” into what the reader would most likely interpret to be the reception of a woman (6)(18-19). Beyond the metaphorical interpretation of these words, however, Cummings takes the poem a step further and alters the structure of the syllables. This creates a rhythm in the lines unlike that of traditional poetry. The poet separates the adjective “slo-wly”, a word that could be descriptive of sex, stressing the first syllable then un-stressing the next (18). Followed by, “bare-ly”, which connotes an idea of nakedness, and is also stressed then unstressed (18). Comparing the alternating stresses of these particular syllables, similarities between the line styles to the rhythm of sexual intercourse arise, supported by the connotations of the words.

This application of writing style to intercourse also applies to the poem on a larger scale. The cycle of a sexual encounter often consists of a rise, a climax, and a fall. By placing punctuation throughout the piece such as periods, hyphens, and spaces, Cummings provides the reader with well known indicators for pauses in writing. This punctuation is almost non-existent in the first stanza. The poet uses a singular hyphen in the second line and the remainder remain absent of punctuation. Gradually, as the reader enters into the fourth stanza, a plethora of pauses arrive in the form of one-word lines, as well as hyphens. Naturally, the reader quickens their pace, creating the rapidity of a rise. Finally, with “greasedlightening” in line 24, the first point in which two words were combined into one, the reader reaches the climax- punctuation-free. A few lines proceeding line 24, combined words continue to emphasize the rapidness in which these phrases are to be read, continuing to mimic the cycle. Finally, in the last line, Cummings chooses to use “still” to indicate calmness, or the fall and plateau, of the entire poem.

Keats "Ode to a Grecian Urn"

Part I:
My initial reaction to John Keats’ Ode on a Grecian Urn was something along the lines of “huh?”. At first, I was not intrigued or entertained by Keats’ description of the urn, nor did I understand the message he was trying to send. I found the structure to be inconsistent and not necessarily enjoyable or beautiful to read as I believed an Ode would be. However, after deciding to tackle this poem over Samuel Taylor Coleridge’s Kubla Kahn, I re-read the piece more closely and discovered I actually enjoyed the poem. In particular I like the turn the speaker makes in the piece. He switches from over-the-top cheesy “More happy love! more happy, happy love!” in line 25 to a more frantic comment about the “sacrifice” in line 30. Which I noticed cause me to subconsciously read more quickly feel more of an urgency.

Part II:
John Keats’ Ode on a Grecian Urn describes the scene painted onto an Grecian urn as noted by the speaker. The process in which this takes place is intriguing. The speaker does not summarize all the events of the scene as depicted on the urn. Nor does he leap into analyzing the metphoric significance of what is drawn. Instead, the reader can visualize the speaker as he slowly turns the urn in his hands, inspecting each character around the circumference. It could be said interpreted that he performs a “close reading” of the urn.

The first three stanzas of the poem adore the beauty of the urn. The “unravish’d bride of quietness”, although inanimate, has a story to tell. The speaker fantasizes about the epic tales of “mad pursuits” and the “wild ecstasy” of the life lived by the person, whether god or a “mortal”, whose ashes lie within the urn. The speaker idolizes the image of the romantic figures which “cannot fade”. Two lovers are in a moment of passion and yearning; on the verge of a kiss. Optimism overpowers these lines. Instead of dwelling on the everlasting yearning plaguing the two lovers, the speaker reassures the male companion that although their lips will never touch, he will forever be in love and his lover will be “fair” for eternity. Addtionally, the weather illustrated within the scene remains in the perfect spring season. Spring connotes new life, beauty, and budding romances, promoting the romanticism and hope of the scene.

Suddenly, in line 31, as the speaker turns the urn, the romanticized images move away, and so too does the optimism. Suddenly a scene of chaos dominates the imagery of the urn. A sacrificial cow stands waiting for its fate as all of the town citizens surround the animal. The glorious town that the speaker imagined is “emptied” and abandoned left to be overgrown by the ivy and branches which adorned the gods. In this change of attitude and events, as illustrated upon the piece of Grecian art, the speaker understands the mysteries of a higher power. He realizes that, although in the moment, life may appear to be perfection, there is no perfect. Only the higher powers, the “Cold Pastoral” understand events of life and why they occur. The only knowledge an ordinary person will ever comprehend “on earth” is that the truth about life, is beauty exists in it all. The speaker seems to be at peace with this conclusion. Neither bitter about the deception caused by the piece of art, nor hopeful about the unknown events to come.