Enter your email address to follow this blog and receive notifications of new posts by email. With his poem “ [love is more thicker than forget],” E.E. (Cunnings: 1,5,9,13). This paper tends to carry out a stylistics analysis of E. E. Cumming’s poem, ‘Love is more thicker than forget’; through a study of the following: lexical categories (general and specific), figures of speech, morphological patterns, syntactical structures, tropes, similes, and phonological sound patterns, etcetera. The adjectives used include ‘thicker’ (love ismore thicker…) and ‘wet’ (…than a wave is wet). Love is not an individualized emotion, or an anomaly of either euphoric happiness or devastating sadness. Hence, the sentences in the poem are then assertive, as they do imply the intended theme (of love), thereby fulfilling their functional responsibility. Love is More Thicker Than Forget. Likewise, the remaining verses of the following stanzas also offer a meaningful representation (of love), though without any formal syntactical structure. Love happens all the time, like failing, but even then, it maintains its distinct and vast components. There's alliteration, imagery, metaphors, mood, oxymorons, personification, repetition and a rhyme scheme. Cementing the poem’s theme of love’s intricacy is the clever usage of juxtaposition. However, these sentences are not structurally profound, since they do not follow the traditional sentence-formation patterns. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. The climaxes and anti-climaxes used by Cunnings also indicate the uncertain or paradoxical nature of love (as an emotion), which can be ‘more…than all the sky’ and ‘less than… the sea’ at the same time. Observing the grammatical structuring of the poem, one might deduce that apparently there are no formal sentence constructions in the text—due to no use of commas (,), full stops (. Change ), You are commenting using your Google account. Established in the first stanza, the integral part of this poem is its metaphoric structure. With respect to its cohesive nature, Cunnings’ ‘love is more thicker than forget’ offers a balanced structure, where all the verses gel together to offer a vivid picture of mortal love; without minding the fact that each stanza here reports an unprecedented exemplification of love; which might have otherwise lead to a complicated scenario (owing to the paradoxical presentation of love by Cunnings)– had not the poet been wise enough to immerse these diversities within the ominous rhythmic structures of his narrative. The various figures of speech used in ‘Love is more thicker then forget’include personification, repetition, anti-thesis, over-statement, understatement, and euphemism. For instance, the use of completely opposite expressions as ‘most sane and sunly’ and ‘most mad and moonly’ shows the poet’s inclination to offer completely opposite description of love through the narrow alleys of his text. ISBN: 0-203-49658-2, https://www.poetryfoundation.org/poetrymagazine/poems/detail/22224. It can be alive. He further added that, “it (style) may be reckoned in terms of the socio linguistic contexts and it may also be reckoned or analyzed on linguistic, semantic and even semiotic terms” (Batool: 52). This theme both shapes and cultivates “[love is more thicker than forget].”. ( Log Out /  These morphemes not only allow grammatical order to the verses but also interconnect the various clauses and phrases together. Dec. 2014. 2, Issue 2-4. Moreover, the inaccurate vocabulary and diction suggest an informal register, which further points to the use of slang terms—as ‘sunly’ and ‘moonly’—within the poetic verses in question. Change ), You are commenting using your Twitter account. It does not tell a story like an ordinary narrative; its story is instead a psychological voyage through the unforeseen waters of love. For instance, verses as ‘it (love) is most sane and sunly/ and more it cannot die’ (Cunnings: 13-14), present multiple interpretations to the targeted audience: as ‘sane and sunly’ might symbolize the liveliness of love (as an emotion), and/or even death of impulsive emotion due to too much rationality or sanity. ( Log Out /  The existing analysis has tried its best to signify the various stylistic devices used in Cummings’ poem ‘Love is more thicker than forget’, and through these devices has tried to offer the closest possible interpretation of the concerned text. "love is blind." Love is resentment. Derivational Affixes (changing words): call → recall, thick → thicker, thin → thinner, Derivational Affixes (changing parts of speech): Call (N) → recall (V), live (V) → alive (Adj. The use of metaphorshereis also worth mentioning, as it considerably helps the poet to paint for his readers an imaginary picture of love. Lexical cohesion achieved through repetition. “Stylistics Analysis of Robert Frost’s Poem: The Road Not Taken”. Cunnings’ also uses complex vocabulary including words as—seldom, lest, sunly, moonly—words which represent Cunnings’ ability to coin new words, as well as to communicate complex and sensitive notions (as love) in a plausible manner. The main outline for the following analysis is as follows: Cummings uses general as well as simple vocabulary in his verse, while at times; he even makes use of complex vocabulary. To me, this poem expresses the many forms of love, and what love is. The poem is filled with comparisons that contrast, which strikes at the human emotion of feeling love. Change ). 2004. An oxymoron. ( Log Out /  It's describing multiple feelings within one, rather than just one itself. ( Log Out /  Creative Commons Attribution 4.0 International License, Follow The Art of Reading Literature on WordPress.com, Robert Herrick’s ‘To the Virgins, To Make Much of Time’- A Stylistic Analysis by Shamah Fatima, Stylistics Analysis of E. E. Cumming’s Poem: ‘Love is More Thicker than Forget’, Faizan Haider, Stylistic Analysis of Bram Stoker’s Count Dracula, Farazeh Nayyar, Stylistic Analysis of “All In A Lifetime’’ by Zulfiqar Ghose, Zahra, Analysis of “A Very Private Life”- Opening Paragraph by Sabiha Anum. Vol. We feel love for people or things no matter where we go, love is a huge thing in life. Change ), You are commenting using your Twitter account. Hence, in the light of Lawal’s description of ‘stylistics’, one might deduce that such an analysis of any literary text is pertinent to a clearer understanding of the respective piece of writing; as evident from the following analysis of Cumming’s poem, which exploits the given text at various literary and grammatical levels during its quest to unveil the poet’s representation of ‘love’. The nouns used hereby include concrete nouns (wave, sea, sky), abstract nouns (love, recall, or memory), and pronouns (it, which). There is an extensive employment of free morphemes in the poem, including terms as love, wave, wet, sane, die, sky, etcetera; While, the lexical morphemes used here may be further divided into sub-categories as Nouns (love, wave, sea, sky), Verbs (fail, win, begin, die), Adjectives (mad, sane), and Adverbs (least, most). This line seems to give the strongest point of the poem, stating what love is and what it is not. Change ), You are commenting using your Facebook account. ( Log Out /  For instance, the production of vowel sound ‘o’ in ‘only’ and ‘sunly’, and ‘th’ sound in ‘thicker’ and ‘thinner’ enhances the auditory quality of the poem, as well as its rhyming scheme. Cummings establishes that love has a greater depth than the ocean, a natural element of Earth that is literally so deep humans only know about a small portion of it. Love is not an individualized emotion, or an anomaly of either euphoric happiness or devastating sadness.

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