Love is not an individualized emotion, or an anomaly of either euphoric happiness or devastating sadness. The various figures of speech used in ‘Love is more thicker then forget’include personification, repetition, anti-thesis, over-statement, understatement, and euphemism.
Change ), You are commenting using your Twitter account. Love happens all the time, like failing, but even then, it maintains its distinct and vast components. Personification or the attribution of humanly qualities to non-living things, allows the poet to present love as ‘mad’ and ‘sane’, and/or as a tangible object than a mere abstraction. The nouns used hereby include concrete nouns (wave, sea, sky), abstract nouns (love, recall, or memory), and pronouns (it, which). 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 (. Here, ‘more seldom’ represents rareness while a comparison to ‘a wave is wet’ represents the frequency of love—hence, both scarcity and abundance in love brought to attention through contrasting metaphors. Oxymorons = The contrast between the second and last verses are oxymorons. The general vocabulary used in the poem includes—love, more, less, than, win, cannot, all—terms which might be easily understood by any common reader. 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, … Change ). Such employment of colloquial and coined language not only brings newness and rhythm to the respective verses, but also enables the writer to describe ‘love’ in an unconventional manner. In the first stanza it is stated that "love is more thicker than forget, more thinner than recall, more seldom than a wave is wet, more frequent than to fail" (Cummings 1-4). Similarly, the use of semantic deviation allows the poet to convey multiple meanings and interpretations for each of the metaphors he uses, rather than literally sticking to the literal and denotative interpretations of these symbols (and of the whole text at large). Create a free website or blog at WordPress.com. The title of any poetic or prosaic narrative not only marks the formal beginning of that text, but also conveys the main theme or idea behind that particular narration. It's also normal and sane, and it's higher than the sky. However, these sentences are not structurally profound, since they do not follow the traditional sentence-formation patterns. It is most mad and moonly, Slang: Newly crafted words used to create rhyming slang—Mad and moonly rhymes with sane and sunly, Free Morphemes: Love, wave, wet, sane, die, sky, Bound or Dependent Morphemes: Thicker, thinner, recall, moonly, deeper, alive, bigger, littler, sunly, higher, Affixes (according to their position in the word), Affixes (according to their function in phrase or sentence), Derivation: Forming new word out of an existing morpheme by changing its lexical category: Thicker (er), Thinner (er), Recall (re), Moonly (ly), Sunly (ly), Littler(r), Higher (er), Adjectives: Love is more thicker than forgot, More seldom than a wave is wet, Verbs: More frequent than to fail/ Love is less always than to win, Adverbs: Always, never, seldom, most, less, more, Noun phrases: love is more thicker, it is most mad, love is less always, Batool, Sumera. The lexical category may be further divided into nouns, verbs, adverbs, conjunctions, and adjectives. Create a free website or blog at WordPress.com.
We feel love for people or things no matter where we go, love is a huge thing in life. These prefixes and suffixes when added to other words, not only bring a change in the overall meaning of the original word, but also allow their employer to define love with a greater clarity and emphasis. ISSN: 2347-6575, Cummings, E. E. “Love is More Thicker than Forget”. The term ‘stylistics’ is derived from the word ‘style’ which is finely defined by R. A. Lawal as “an aspect of language that deals with choices of diction, phrases, sentences and linguistic materials that are consistent and harmonious with the subject matter” (Batool: 52). 2, Issue 2-4.
On the same token, E.E. 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. All these levels shall be further divided into categories and sub-categories according to their linguistic and grammatical implications, in order to sort out the various purposes that they serve in the poem.
Instead, it is a convoluted experience. Vol. But the most important part is that it can never die. Instances of understatement of love might be found in verses as ‘love is less always than to win’ (Cummings: 9), where the poet undermines love as complete failure or as a struggle which is never fully successful. "love is blind."
He started writing poetry as early as 1904 and had mastery at the Greek, Latin and English languages. Still, owing to the inherently open-ended nature of poetry there might be certain other meanings (of the poem under observation); which the existing analysis might have overlooked, and which might be identified and addressed by later researchers in their respective stylistic analyses of the same poem. These morphemes not only allow grammatical order to the verses but also interconnect the various clauses and phrases together. The most notable juxtaposition in the poem is referring to love as both “most sane and sunly” and “most mad and moonly.” Not only does this illustrate that love is the most natural, irrational thing to exist, but it also displays a much greater truth: love is not static. 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. Mood = The mood here is a bit mysterious to me. After the war ended, Cummings subjected himself to a summerhouse living in New Hampshire, during which he severally visited Paris and Europe to meet other poets and artists as Pablo Picasso, whose work he greatly admired.
This line seems to give the strongest point of the poem, stating what love is and what it is not.
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