2016年8月1日 星期一

i: six nonlectures, 《我:六次非演講》/ Fourteen Poems by E. E. Cummings 《康明思的詩》 E. E. CUMMINGS: A Life

“Taxis toot whirl people moving” by E. E. Cummings included in POEMS OF NEW YORK

taxis toot whirl people moving perhaps laugh into the slowly
millions and finally O it is spring since at all windows
microscopic birds sing fiercely two ragged men and a
filthiest woman busily are mending three wholly broken somehow
bowls or somethings by the web curb and carefully spring is
somehow skilfully everywhere mending smashed minds
the massacred gigantic world
again, into keen sunlight who lifts
glittering selfish new
and my heart stirs in his rags shaking from his armpits the
abundant lice of dreams laughing
rising sweetly out of the alive new mud my old
man heart striding shouts whimpers screams breathing into
his folded belly acres of sticky sunlight chatters bellows
swallowing globs of big life pricks wickedly his
mangled ears blinks into worlds of color shrieking
O begins
the mutilated huge earth
again, up through darkness leaping
who sprints weirdly from its deep prison
groaning with perception and suddenly in all filthy alert things
which jumps mightily out of death
muscular, stinking, erect, entirely born.


E.E. Cummings reads Anyone Lived in a Pretty How Town

E.E. Cummings reads his poem Anyone Lived in a Pretty How Town

/This FULCRUM page is for true lovers of poetry and literature./

末節姊姊Rose結婚時Magi 念這首
[i carry your heart with me(i carry it in] By E. E. Cummings

i carry your heart with me(i carry it in
my heart)i am never without it(anywhere
i go you go,my dear;and whatever is done
by only me is your doing,my darling)
i fear
no fate(for you are my fate,my sweet)i want
no world(for beautiful you are my world,my true)
and it’s you are whatever a moon has always meant
and whatever a sun will always sing is you

here is the deepest secret nobody knows
(here is the root of the root and the bud of the bud
and the sky of the sky of a tree called life;which grows
higher than soul can hope or mind can hide)
and this is the wonder that's keeping the stars apart

i carry your heart(i carry it in my heart)

聽聽妙人錄音 多妙. 即使翻譯 也很可讀.
中華民國最有點研究e e cummings 的人是葉公超先生---參考朱自清日記....
 E.E. Cummings, i: six nonlectures, 1952-53.

The author begins his "nonlectures" with the warning "I haven't the remotest intention of posing as a lecturer." Then, at intervals, he proceeds to deliver the following:
1. i & my parents
2. i & their son
3. i & self discovery
 關於"濟慈"的資料 英文相當完備 幾乎可以論月-日追蹤John Keats的發展 --哈佛大學出的Keats傳最值得參考:

John Keats — Walter Jackson Bate | Harvard University Press

Since most of Keats's early poetry has survived, his artistic development can be observed more closely than is possible with most writers; and there are times ...

精彩論文: 有漢譯
The Poet as Hero: Keats in His Letters (1951) , 收入The Moral Obligation to Be Intelligent: Selected Essays By Lionel Trilling,pp.224-

  E.E. Cummings,Norton Lectures 1952-53,   i: six nonlectures, Harvard University Press, 1981, 至少提2次Keats. 第3講說他在哈佛大學讀書時   收到的印象最深刻的禮物是: Keats的詩信合集
4. i & you & is
5. i & now & him
6. i & am & santa claus
These talks contain selections from the poetry of Wordsworth, Donne, Shakespeare, Dante, and others, including e.e. cummings. Together, it forms a good introduction to the work of e.e. cummings.

試讀:第一次非演講:我&我的父母內容簡介· · · · · ·這是一本別出心裁、充滿詩意的小書,卡明斯用令人耳目一新的形式,通過六次“非演講”講述了作者的家庭,他的成長,他的詩歌理念與奇思妙想,以及對影響他創作的詩人們的評價,輔以大量經典的詩歌賞析。書中處處閃耀著奇思妙想的火花,在奇特的形式外殼之下,卡明斯顯示出卓越的抒情才能和藝術敏感。作者簡介 · · · · · ·ee卡明斯(1894—1962),美國著名實驗派詩人、畫家、評論家、作家和劇作家。深受達達主義和立體主義的影響,對詩歌進行徹底改造,創造出一種全新的卡明斯式詩歌模式。目錄 · · · · · ·第一次非演講:我&我的父母第二次非演講:我&他們的兒子第三次非演講:我&自我發現第四次非演講:我&你&是第五次非演講:我&現在&他第六次非演講:我&是&聖誕老人"我:六次非演講"試讀 · · · · · ·在這所謂系列講座的開場,我得好意提醒你們,我絲毫沒有打算扮成一個演講者。演講,或許是教學工作的一種形式;或許,教師就是一個類似智者之類的人。而我從來,至今也仍然,只是一個無知者。我所沉迷的不是傳道授業,而是學習。我向你們保證,如果一次查爾斯·艾略特·諾頓講座的提名邀請不是立即意味著將從中得以學到大量東西,我現在應該會在別的什麼地方。我還向你們保證,我站在...

康明思的詩 Fourteen Poems by E. E. Cummings (Comprehensive Study Guide) 台北:新亞 1975

E. E. Cummings in 1953
Born Edward Estlin Cummings
October 14, 1894
Cambridge, Massachusetts
Died September 3, 1962 (aged 67)
Joy Farm in North Conway, New Hampshire
Cause of death Hemorrhage
Resting place Forest Hills Cemetery
Known for Poems, plays and other works of art
Influenced by Amy Lowell, Gertrude Stein
Influenced Richard Brautigan
Brian P. Cleary
Religion Unitarian
Spouse Elaine Orr
Anne Minnerly Barton
Marion Morehouse
Children Nancy, daughter with Elaine Orr
Parents Edward Cummings
Rebecca Haswell Clarke
Relatives Elizabeth Cummings, sister


Despite Cummings' consanguinity with avant-garde styles, much of his work is quite traditional. Many of his poems are sonnets, albeit often with a modern twist, and he occasionally made use of the blues form and acrostics. Cummings' poetry often deals with themes of love and nature, as well as the relationship of the individual to the masses and to the world. His poems are also often rife with satire.
While his poetic forms and themes share an affinity with the romantic tradition, Cummings' work universally shows a particular idiosyncrasy of syntax, or way of arranging individual words into larger phrases and sentences. Many of his most striking poems do not involve any typographical or punctuation innovations at all, but purely syntactic ones.
As well as being influenced by notable modernists including Gertrude Stein and Ezra Pound, Cummings' early work drew upon the imagist experiments of Amy Lowell. Later, his visits to Paris exposed him to Dada and surrealism, which in turn permeated his work. Cummings also liked to incorporate imagery of nature and death into much of his poetry.
While some of his poetry is free verse (with no concern for rhyme or meter), many have a recognizable sonnet structure of 14 lines, with an intricate rhyme scheme. A number of his poems feature a typographically exuberant style, with words, parts of words, or punctuation symbols scattered across the page, often making little sense until read aloud, at which point the meaning and emotion become clear. Cummings, who was also a painter, understood the importance of presentation, and used typography to "paint a picture" with some of his poems.[13]
The seeds of Cummings' unconventional style appear well established even in his earliest work. At age six, he wrote to his father:[citation needed]
Following his novel The Enormous Room, Cummings' first published work was a collection of poems entitled Tulips and Chimneys (1923). This work was the public's first encounter with his characteristic eccentric use of grammar and punctuation.

Some of Cummings' most famous poems do not involve much, if any, odd typography or punctuation, but still carry his unmistakable style, particularly in unusual and impressionistic word order. For example, "anyone lived in a pretty how town" begins:
anyone lived in a pretty how town
(with up so floating many bells down)
spring summer autumn winter
he sang his didn't he danced his did

Women and men (both little and small)
cared for anyone not at all
they sowed their isn't they reaped their same
sun moon stars rain
"why must itself up every of a park" begins as follows:
why must itself up every of a park
anus stick some quote statue unquote to
prove that a hero equals any jerk
who was afraid to dare to answer "no"?

Cummings' unusual style can be seen in his poem "Buffalo Bill's/ defunct" from the January 1920 issue of The Dial.
Readers sometimes experience a jarring, incomprehensible effect with Cummings' work, as the poems do not act in accordance with the conventional combinatorial rules that generate typical English sentences (for example, "why must itself..." or "they sowed their isn't..."). His readings of Stein in the early part of the century probably served as a springboard to this aspect of his artistic development (in the same way that Robert Walser's work acted as a springboard for Franz Kafka). In some respects, Cummings' work is more stylistically continuous with Stein's than with any other poet or writer.

In addition, a number of Cummings' poems feature, in part or in whole, intentional misspellings, and several incorporate phonetic spellings intended to represent particular dialects. Cummings also made use of inventive formations of compound words, as in "in Just"[14] which features words such as "mud-luscious", "puddle-wonderful", and "eddieandbill." This poem is part of a sequence of poems entitled Chansons Innocentes; it has many references comparing the "balloonman" to Pan, the mythical creature that is half-goat and half-man.

Many of Cummings' poems are satirical and address social issues (see "why must itself up every of a park", above), but have an equal or even stronger bias toward romanticism: time and again his poems celebrate love, sex, and the season of rebirth (see "anyone lived in a pretty how town" in its entirety).
Cummings' talent extended to children's books, novels, and painting. A notable example of his versatility is an introduction he wrote for a collection of the comic strip Krazy Kat.
Examples of Cummings' unorthodox typographical style can be seen in his poem "The sky was candy luminous".[15]
Mr. Cummings’s eccentric punctuation is, also, I believe, a symptom of his immaturity as an artist. It is not merely a question of an unconventional usage: unconventional punctuation may very well gain its effect…the really serious case against Mr. Cummings’s punctuation is that the results which it yields are ugly. His poems on the page are hideous.[16]
Edmund Wilson, from an essay entitled, Wallace Stevens and E.E. Cummings (1924)

Biography of e.e. cummings
e.e. cummings

e.e. cummings (1894 - 1962)

Cummings was born in Cambridge, Massachusetts, to liberal, indulgent parents who from early on encouraged him to develop his creative gifts. While at Harvard, where his father had taught before becoming a Unitarian minister, he delivered a daring commencement address on modernist artistic innovations, thus announcing the direction his own work would take. In 1917, after working briefly for a mail-order publishing company, the only regular employment in his career, Cummings volunteered to serve in the Norton-Harjes Ambulance group in France. Here he and a friend were imprisoned (on false grounds) for three months in a French detention camp. The Enormous Room (1922), his witty and absorbing account of the experience, was also the first of his literary attacks on authoritarianism. Eimi (1933), a later travel journal, focused with much less successful results on the collectivized Soviet Union.
At the end of the First World War Cummings went to Paris to study art. On his return to New York in 1924 he found himself a celebrity, both for The Enormous Room and for Tulips and Chimneys (1923), his first collection of poetry (for which his old classmate John Dos Passos had finally found a publisher). Clearly influenced by Gertrude Stein's syntactical and Amy Lowell's imagistic experiments, Cummings's early poems had nevertheless discovered an original way of describing the chaotic immediacy of sensuous experience. The games they play with language (adverbs functioning as nouns, for instance) and lyric form combine with their deliberately simplistic view of the world (the individual and spontaneity versus collectivism and rational thought) to give them the gleeful and precocious tone which became, a hallmark of his work. Love poems, satirical squibs, and descriptive nature poems would always be his favoured forms.
A roving assignment from Vanity Fair in 1926 allowed Cummings to travel again and to establish his lifelong routine: painting in the afternoons and writing at night. In 1931 he published a collection of drawings and paintings, CIOPW (its title an acronym for the materials used: charcoal, ink, oil, pencil, watercolour), and over the next three decades had many individual shows in New York. He enjoyed a long and happy third marriage to the photographer Marion Morehouse, with whom he collaborated on Adventures in Value (1962), and in later life divided his time between their apartment in New York and his family's farm in New Hampshire. His many later books of poetry, from VV (1931) and No Thanks (1935) to Xaipe (1950) and 95 Poems (1958), took his formal experiments and his war on the scientific attitude to new extremes, but showed little substantial development.
Cummings's critical reputation has never matched his popularity. The left-wing critics of the 1930s were only the first to dismiss his work as sentimental and politically naïve. His supporters, however, find value not only in its verbal and visual inventiveness but also in its mystical and anarchistic beliefs. The two-volume Complete Poems, ed. George James Firmage (New York and London, 1981) is the standard edition of his poetry, and Dreams in a Mirror, by Richard S. Kennedy (New York, 1980) the standard biography. e. e. cummings: The Art of His Poetry, by Norman Friedman (Baltimore and London, 1960) is still among the best critical studies of his poetic techniques.


[Buffalo Bill 's] by E. E. Cummings
Buffalo Bill ’s
who used to
ride a watersmooth-silver
and break onetwothreefourfive pigeonsjustlikethat
he was a handsome man
and what i want to know is
how do you like your blue-eyed boy
Mister Death


Please join us in wishing Susan Cheever a happy birthday today. She was born in New York City on this day in 1943.
"Cummings's (book) sales are a barometer of the national mood. In confident times his poems are beloved. Their questioning, their humor, and their rule-breaking formalism seem to gibe with a democracy ready to ask hard questions and make fun of itself. In precarious times, readers seem to want an older, more assured poet, someone who speaks with authority rather than scoffs at it."
--from E. E. CUMMINGS: A Life
Cummings, in his radical experimentation with form, punctuation, spelling, and syntax, created a new kind of poetic expression. Because of his powerful work, he became a generation’s beloved heretic—at the time of his death he was one of the most widely read poets in the United States. Now, in this rich, illuminating biography, Susan Cheever traces the development of the poet and his work. She takes us from Cummings’s seemingly idyllic childhood in Cambridge, Massachusetts, through his years at Harvard (rooming with Dos Passos, befriending Malcolm Cowley and Lincoln Kirstein). There, he devoured the poetry of Ezra Pound, whose radical verses lured the young writer away from the politeness of the traditional nature poem towards a more adventurous, sexually conscious form. We follow Cummings to Paris in 1917, and, finally, to Greenwich Village to be among other modernist poets of the day—Marianne Moore and Hart Crane, among them. E. E. Cummings is a revelation of the man and the poet, and a brilliant reassessment of the freighted path of his legacy. READ an excerpt here:http://knopfdoubleday.com/book/212479/e-e-cummings/