The Power of Structure and Form in EE Cummings' Poems

STRUCTURALISM APPROACH

I.INTRODUCTION

When people heard the word “structuralism”, the first thing comes to their minds are more on the ideas of different forms and styles of writing a certain literary piece but in fact, it is more than that. What is Structuralism Approach? According to Mambrol (2016) in literary criticism, structuralism is a way of perceiving the world in terms of structures. It emerged as a trend in the 1950s challenged New Criticism and rejected Sartre’s existentialism and its notion of radical human freedom. It also focused on how human behavior is determined by cultural, social and psychological structures. It tended to offer a single unified approach to human life that would embrace all disciplines. In other words, structuralism simply implies that the different thoughts were intended to put the study of literature on a scientific and objective basis and also the readers focus their attention to matters of literary form such as the structure rather than in social or historical content.

This article focused on analyzing the selected five poems of E.E. Cummings using structuralism approach which were entitled, If, I have found what you are like, Somewhere I have never travelled, gladly beyond, [I carry your heart with me( i carry it in], and I(a. Before going to the main analysis of those poems, let us know more about E.E Cummings. According to the study of Hinojosa, Edward Estlin Cummings was born at Cambridge Massachusetts on October 14, 1894 in a very ordinary family but with an amazing destiny. His mother a poetry lover sparked something grand in E. E. Cummings at the young age of 10 when he began to write poetry. He developed a style so unique that it was not fully appreciated until after his death. This style of poetry broke away from the conventional use of the English language. His used of his past experiences and incorporation in his poems and books were distinguished in such a way as to convey love in a word, self-worth in a letter, and imagery in a space. He went against all the laws of English to convey his meanings with his disregard for punctuation and DE capitalization.

II. DISCUSSION

By E.E Cummings

If freckles were lovely, and day was night,

And measles were nice and a lie warn’t a lie,

Life would be delight,

But things couldn’t go right

For in such a sad plight

I wouldn’t be I.

If earth was heaven and now was hence,

And past was present, and false was true,

There might be some sense

But I’d be in suspense

For on such a pretense

You wouldn’t be you.

If fear was plucky, and globes were square,

And dirt was cleanly and tears were glee

Things would seem fair,

Yet they’d all despair,

For if here was there

We wouldn’t be we.

E.E Cummings has set himself apart from other authors by using different types of structure to add interest and creativity into his poetry. He uses different four facets of form and structure which are choppiness in sentence length, spacing and punctuation, overall poem length, and shape. Cummings uses a certain choppiness in his line length to add impact to the thoughts and feelings of the characters he creates within his poetry. The reason he uses a structure in this fashion is to give the reader insight into what the character’s feelings in the poem. He puts a story into each thing his poems pertains to. The way he does this adds an extra element in a way that Cummings chops up sentences and adds feelings (Roberts, 2015).

The poem “If” is a unique piece of poetry that was created by Edward Estlin Cummings in the 1900s. The best category that this poem could possibly be placed is in a bio. A bio is a type of poem where the author talks about one self’s life, personality traits, and their ambitions. In this case, Cummings talks about his own life and what it would be life if he were living in a perfect world. This poem contains three stanzas and each stanza contains six lines. “If” was told in a first person point of view and this sets Cummings as the speaker of the poem. It has a strict rhythmic from, especially in the form ABAAAB CDCCCD EFEEEF.

The unique thing about this poem is that it contains three central themes. It contains a transcendental theme along with a romantic theme and even a realist theme. In this poem, not only does Cummings describe what is own life would be like if he lived in a perfect world but, he broadly describes what human life would be like if the world is perfect. He uses the word “if” to make wild assumptions if negative things in the world and these negative things transforming to positive things. For example, on line thirteen, Cummings describes a world where dirt is clean and tears are glee. This style of writing truly makes the reader stop and think, “What would life really be like if there is not anything bad in the world?” This poems falls under the category of being a realistic poem because of the dialogue to speak like most normal human being speak. On line two, he states, “And measles were nice and a lie warn’t a lie.” Although “warn’t” is not a word, he uses it to help make this poem and its dialogue more realistic. It is unclear to whom exactly this poem was written for but it was more than likely written for a female as a way of saying “you are perfect for the way you are.” The deepest and most important meaning to this poem is Cummings would rather be happy in an ugly world rather than sad in a perfect world. If everything in the world were completely perfect, than really, life would just be ordinary (Eble, 2015).

Cummings attitude alters from first being optimistic about a life based on the good, then switches perspective to be blunt towards change. In response to his attitude, the poem shifts, and the author begins to imply how if the world is not as it is now, then everything would be different, including himself and everyone. These helps him to conclude that the negative in the world is there for a reason, so we are able to appreciate happiness rather than take it for granted. Even though the bead being removed from life, the author also goes on to say that people would find ‘despair’ in world of good, displaying a theme that humans may never be satisfied. The imagery of the poem are freckles, measles, earth, heaven, dirt, and tears. The mood states that everyone is always so insecure about themselves. This poems helps you to get through that insecurity because if you did not look, act and behave you would not be who you are. In the poem “if” by E.E Cummings, the speaker wants to tell us that “An old person, say this because it seems like someone who has a lot of wit.” It talks about being different and not wanting to be the same as everyone and how the world would be boring if we are all the same. And lastly as the reader reads the poem, he thinks that the theme of the poem is about, insecurity, because nowadays people especially the teenagers are so insecure about themselves. By the use of diction such as “freckles, earth, measles, heaven, dirt, tears, and globes”, it helps the reader to imagine what Cummings is describing. After reading the poem, the title seems to translate to meaning what could but does not occur, for a reason (Cummings Block, 2013).

I HAVE FOUND WHAT YOU ARE LIKE

By: E. E. Cummings

(Who feathers frightened fields?

With the superior dust-of-sleep. Wields

easily the pale club of the wind

and swirled justly souls of flower strike

the air in utter able coolness

deeds of green thrilling light

with thinned

new fragile yellows

lurch and.press

-in the woods

which

stutter

and

sing

And the coolness of your smile is

Stirring of birds between my arms; but

i should rather than anything

have (almost when hugeness will shut

quietly) almost,

your kiss

“I have found what you are like” was one of E.E Cummings famous poem. This paper tries to analyze this poem from the perspective of applying structuralism approach. In order to analyze the poem on how it was structured, first we must read the poem for enjoyment; take everything about it in, the sound of the words flowing together, the physical structure of the poem, the insouciance of the joining of words and the literary devices that being used. According to Roberts (2015), Cummings used a certain choppiness in his line length to add impact to the thoughts and feelings of the characters he created within his poetry. The reason he used structure in this fashion was to give the reader insight into what the character’s feeling in the poem. He puts a story into each thing that his poems pertain to. The way he did this adds an extra element. In most poetry the poem has its basic character, theme, and its description of a situation. The way Cummings chopped up sentences add feeling.

As we can observed, the poem was peppered with literary devices. According to Freeman McNeil (2017), the poem used alliteration (feathers frightened fields), assonance (club/of, deeds/green, club/justly), repetition (coolness), simile (you are like the rain), and some true and slant rhymes (fields/wields, lurch/which) that contributed to its success. Love poems were dime a dozen, mostly they were poorly imagined and written pieces of drivel. The difference with E.E. Cummings is that he expressed the usual in an unusual way. Instead of saying “the rain falls lightly on the fields”, he said rain “feathers the superior dust-of-sleep”, bringing to mind the image of plants bowing under the weight of the raindrops frightened fields with they hold. Instead of saying that wind blows flowers back and forth, Cummings said the wind “wields easily the pale club”, and the “souls of flower strike the air in utter able coolness”, describing both their movement and the lack of sound within the breeze. The imagery was hued with the “green thrilling light” and “thinned new fragile yellows,” which describe the swaying of the stems and petals of flowers gently moving in the breeze. According to the study of Shoomp (2017), these differences of pattern is how structuralism is all about, it determined sets of opposite and use those to figure out deep patterns underlying the structure of pretty much things.

Cummings experiments throughout the poem with different used of punctuation, but in this case Mchugh (2011), believed that the half-parenthesis exhibits that the connection to another person, the realization that one understands another human being, was one of the most powerful feelings in the universe. To a point where expressing such emotion can be nearly impossible. Thus, the half- parenthesis used in the second stanza “almost”, as if the speaker was trying to express too much at once and keep having these thoughts and emotions that overlap one another, so the speaker adds the beginning of the parenthesis as almost an afterthought, but rushed to continue his/her original train of thought and in doing so, loses the second half of the parenthesis. Instead of remembering to place in it, move immediately on his/her next and/or original emotion. We also observed some enjambment throughout the poem. The enjambment from the second to the third stanza, however, lessens the harsh quality of the word “wield” when used together with “club”. The rain was supposedly gentle, and therefore the space between “wield “ and “club” as well as the words “easily” and “pale” gave the “club” a s the words. (Mchugh, 2011).

The study of Freeman Mcneil (2017) believed that E.E Cummings described his feeling when he saw the object of his love. Instead of coming straight out and saying “I love you,” or attempting a ham-fisted allusion, Cummings says “the coolness of your smile is stirring of birds between my arms.” The place between his arms is his chest, and inside the chest is a heart bursting with joy at seeing his love. This image of his heart coming to life as he sees his love, as a bird would stir and begin to flap its wings, slowly at first and then more fervently, demonstrates the excitement of love. The speaker wants to see his love and enjoy, perhaps, a kiss - one that he has thought of for a while. Understanding that this is not his most popular piece, E.E. Cummings has crafted what the reader feel is a genuine appreciation of the excitement and stirring of love without dumbing down the reader or watering down the content. The tone are hopeful, excited, and optimistic, and we feel it creates a similar mood in the reader’s feeling.

SOMEWHERE I HAVE NEVER TRAVELLED, GLADLY BEYOND

By: E.E. Cummings

somewhere i have never travelled, gladly beyond

any experience, your eyes have their silence:

in your most frail gesture are things which enclose me,

or which I cannot touch because they are too near

your slightest look easily will unclose me

though i have closed myself as fingers,

you open always petal by petal myself as Spring opens

(touching skillfully, mysteriously) her first rose

or if your wish be to close me, I and

my life will shut very beautifully, suddenly,

as when the heart of this flower imagines

the snow carefully everywhere descending;

nothing which we are to perceive in this world equals

the power of your intense fragility: whose texture

compels me with the color of its countries,

rendering depth and forever with each breathing

(i do not know what is about you that closes

and opens; only something in me understands

the voice of your eyes is deeper done all roses)

nobody, not even the rain, has such small hand

Edward Estlin Cummings, known to most of his reader as E.E Cummings who was born on October 14, 1894 in Cambridge, Massachusetts. The poet and critic (Jarrell 1965) once noted that Cummings' was "one of the most individual poets who ever lived--and, though it sometimes seems so, it is not just his vices and exaggerations, the defects of his qualities, that make a writer popular. To write poetry about things like love, death, and the meaning of life, then, he had to find means to recreate the moments of epiphany that lays such mysteries bare— in other words, to somehow express that which is, by its very definition, ineffable. Throughout the course of his career, Cummings came up with an amazing array of techniques for doing this— from profoundly simple examples of nature at work to complex experiments in typography, syntax, and grammar that transformed the English language itself. But "somewhere i have never travelled, gladly beyond” provides an excellent introduction to how Cummings the transcendentalist approaches the "mysteries-of-mysteries." (ViVa, 1931)

This poem by E.E Cummings, were experimental, abstract and irregular. He wrote this unconventional style for most of his career and was unapologetic. A skillful artist, he also 'sketched' his often fragmentary poems on the page. Some critics thought him childish and sentimental and claimed he was undermining the progress of poetry (Spacey 2016). Cummings' built the poem largely out of monosyllabic words either by themselves or attached to ordinary suffixes. The subject too, was uncomplicated: images of eyes and hands interweave their themes of opening, closing, and touching. Rhythmically, the poem was probably best constructed as free verse lines gathered into stanzas, although a case can be made for sprung rhythm pentameter. The last stanza locked into perfect rhyme; previous stanzas conform to no rhyme scheme, although occasional hints ("enclose me"/ "unclose me"; descending"/"breathing"; and the anticipatory "and" and "rose") prepare for the last stanza's rhymes on the significant words "closes" and "hands" (Kidder 1979). Finally, "somewhere I have never travelled, gladly beyond" exemplified Cummings' basic view of reality, it merit special attention. The main reason the speaker in this love lyric values and praises his beloved so highly was introduced at the start of the poem when he stated, "somewhere I have never travelled ... your eyes have their silence." For this "silence" led the speaker to a richer knowledge of reality than his previous experiences did. Because this knowledge was wholly positive, both the speaker and the woman he loves read to it "gladly" on joyously. A fundamental feature of this deeper reality was gentleness— but a gentleness far more powerful than brute force. For this reason the beloved's "most frail gesture" spurs the speaker to seek being enclosed within the realm of love. Though the woman was physically attractive, the gentleness her beauty embodies, also spurs the speaker beyond the solely sensual— beyond what he could "touch"— to "things" essentially physically. Yet the metaphysical permeates physical reality (Johnson 1994).

As (S.V Baum 1962) noted of Cummings' poetry in general, "by rejecting the pronoun," Cummings assumes a casual humility." This idea was well suited to "somewhere I have never travelled, gladly beyond," because the poet was completely humble. He was totally signing away any power he has over himself, even his life and death, to his beloved. Therefore, it was appropriate for him not to capitalize the pronoun that indicate himself. Likewise, the total lack of capitalization in the poem underscores the poet's feelings of humility. He was so meek that he does not capitalize any of the words in the poem. It was as if he does not want to call attention to any one part of the poem. Rather he wanted to emphasize and to make the readers understand all the consuming power of his lover's beauty and influence. This idea underscores the eternal timeless quality of his love.

Likewise in the other use of parenthetical text in the poem, Cummings offers an acknowledgement of the mystery of the power of his lover holds over him, even as he is discussing that power. Cummings' says "(I do not know what it is about you that closes/ your eyes is deeper than all roses)." It is as if Cummings is trying to let readers inside his mind, so that they can follow his unorganized thoughts as he is having them. In novels, this is a technique known as stream of consciousness, and it involves literally going inside a characters head and following his or her jumbled thoughts. Cummings mimics this effect in his use of parenthetical disciplines, as if he does not want the reader to miss out on any part of the experience that he is having as he thinks about the power and mystery of his beloved (Poquette 2003). In the end, this is the key to understand Cummings' love poem. He utilizes varied forms of punctuation that are at his disposal including spaces, periods, capitalization, and parentheses in unconventional ways, in an attempt to let readers inside his mind. The poet's goal is to let the readers experience the depth and potency of his love in the same way he is experiencing it.

[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 you’re 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)

“[i carry your heart with me (i carry it in]”

“I Carry Your Heart With Me,” a poem by E.E. Cummings, was first published in June 1952. It made its first public appearance in Poetry magazine. As a contemporary poet, Cummings plays with the established styles of poetry for the benefit of meaning and aesthetics. It was important to note the aesthetics of his poetry play a role in the message being delivered, something which was clearly seen in this poem (Alexis, 2016).

According to the study of Abishek (2016), the very aspect that strikes the mind of any reader is the poet’s conclusion to the basic concept of love and the eternal beauty between two human beings banded with the one and only aspect which is the ‘heart’. The poem beautifully blends itself convincing its readers to admire the beauty of two hearts conjoined into one, also done by implicating an emphasis enough on ‘heart’. One also does not fail to recognize the ecstasy, happiness and eternal bliss brought in by love, which is well furnished and expressed by Cummings. Following the poem, one discovers that the concluding interpretations of the title is extremely parallel to the one ended precisely off the strike. The poem is on the subject of the unconditional love articulated from a gentleman to a woman. We take it to be on the subject of how love expands the baggage to us and the shape it finally adds to the person it affected. The title’s ease is a reason as well to why this limerick is nothing but an amazing masterpiece. The poem encircles an exaggeration right from the very beginning as it is physically impossible to carry someone else’s heart. The exaggeration though brings in the powerful feeling of love, but on the other hand, it constantly reflects the picture of someone actually carrying a piece of his loving soul. The metaphors at the same time forces us to foresee the person we love and the contentment we have qualified with them.

There are all sorts of theories as to why Cummings would not capitalize the pronoun, but one reason could be because he wanted to be on the same level with his beloved. Perhaps he thought capitalizing I would somehow elevate the speaker over his lover. It is also interesting to note the parentheses that surround the second half of this line, almost as if the speaker is trying to protect his lover’s heart by encapsulating it within the parenthesis. The speaker, who is talking directly to his beloved, goes on to tell her that he is never without her heart. In fact, he emphasizes this again by employing parentheses. He writes, “(anywhere I go you go, my dear; and whatever is done by only me is you are doing, my darling)”. The lack of punctuation in the stanza supports the unity between the speaker and his lover, and he again seems to be cradling her heart carefully in between the parentheses. The speaker is also revealing to his darling that she is the reason behind all that he does. In essence, he does everything for her and because of her. The second stanza is a continuation of the first, with the speaker waxing on about how much he is in love. The first line simply says, “I fear,” which is directly contradicted with the next line; the first half reads “no fate (for you are my fate, my sweet)”. This provides a surprise to the reader, who assumed the speaker would begin to discuss all that he fears about his love. On the contrary, the speaker confesses there is nothing he fears. Cummings again writes in a long, run-on sentence, continuing that line with another set of parentheses: “for beautiful you are my world, my true)”. The sentence keeps going for the remainder of the stanza: “and it’s you are whatever a moon has always meant/and whatever a sun will always sing is you.” This last section of the stanza contains beautiful imagery, the speaker is telling his lover that whatever the moon means, it has always been for her, and the sun’s song is sung for her as well. Note Cummings’ use of personification with the sun, who is singing his song to the speaker’s beloved. The speaker seems to be telling his lover that all that is good and beautiful in the world has been made for her and her alone. He also confesses that there is fears nothing and wants nothing because she is his everything. Cummings’ syntax is also worth examining in this stanza. Normally, using a word such as “whatever” in any creative piece is frowned upon. However, it works perfectly in conjunction with the rest of Cummings’ poetic style. The third stanza of the poem is drastically different from the first two, with Cummings utilizing repetition throughout the entire five-line stanza. He starts off almost tantalizing his reader: “here is the deepest secret nobody knows.” The other lines of the stanza, however, are fairly ambiguous, leaving the reader to wonder just what this deepest secret is (Poem Analysis, 2017).

The structure of Cummings’ poem is not conventional and is free verse. It has three distinguishable stanzas and an additional final line that stands alone. However, what stands out the most about the structure and, as result, gives it an unconventional image is a connection between the first and second stanzas with line “I fear.” It stands alone between the second and third stanzas, is an enjambment, and lies at the far right of the page. The poem also lacks the conventional capitalization of “I.” The stylistic choices for this piece are certainly not frivolous. The structure is not strict and does not adhere to any of the conventional formats of older poetry. Even the number of lines in each stanza varies. The poem also makes heavy use of parentheses. Inside each set, the speaker of the poem appears to be declaring additional feelings. Finally, the poem ends with a singular line very similar to the title. That is also not common in poetry. As evidenced throughout the poem, Cummings enjoyed playing with conventionality in structure. It is important to note, however, he does not do so lightly (Alexis, 2016).

I (a

By EE Cummings

l (a

one

iness

“l (a” is a short and beautiful work by 20th century poet, E.E. Cummings. This poem was first published in 1958. It has nine lines and four words and it provides quite large margin space for meditation and interpretation. According to Watson (2011), this poem of E.E Cummings was influenced by the imagist movement that paints a visual image with the words of the poem. The movement in turn was partially influenced by Japanese haiku that attempts to capture a single image in the poem and the feeling it conveys.

In analyzing the poem using structuralism, combining the letters into a normal sentence, the poem can be read as either "loneliness (a leaf falls)" or "(a leaf falls) loneliness." The image of the letters as arranged is one of a single leaf falling as well, twisting side to side, flat and horizontal. It can also be seen as some of the leaf twisting in the second stanza by alternating "af" and "fa", and alternating consonants with vowels. So, aside from the striking visual image itself, the poem reinforces the solitary image of loneliness by repeatedly emphasizing the concept of one. The first line breaks up an "l" and an "a," both singular concepts. The last line of the second stanza is "ll" -- one repeated. The third stanza has "one" for its second line and "l" for its third line. Finally, the last part of the poem can be read as "oneliness" since the "l" of loneliness is hidden at the beginning of the poem behind parentheses and forgotten.

According to Carroll (2014), the alternating, the turning, the up-and-down, evoke a struggling image, and we must struggle to understand it. But that struggling is caused entirely by the disruption of the whole, of a letter from its word, a leaf from its tree. It simply implies that even a leaf, a gentle, harmless leaf resists loneliness with all its heart and it is not meant to live this way. The most common alternating theme of the poem is found within this back-and-forth between a leaf-the-one and what it is now separate from the whole. Based on the analysis, E.E. Cummings appears to offer a way out of the loneliness he has created, but we will likely have to journey in and out, in and out into each line, out to the poem; into each fragment, out to the image again and again, for the rest of our lives, to know what that way out is, and more importantly, how to take the whole with us.

Form is at the heart of this poem. Upon first reading, readers thought how clever this poem is. But the more they read it, the more it got to them. The form illustrates falling, motion, slimness, even termination. The lines are long not just the poem as a whole but the letters in the poem which have so many l's and f's. Long, even lines, all leading down. We are familiar with the image of falling leaves and the strong emotions it creates. Poems are full of that image but E.E Cummings is illustrating that strong feeling of this poem in several ways. First, the words itself: "a leaf falls loneliness" or "loneliness a leaf falls." It doesn't work well to read it. Second, in the long lines, the downward fluidity of the poem as a whole created with the whole line, and the lines of the letters. Third, are those parentheses which are inherently exclusive. E.E. Cummings illustrates loneliness by alienating that word from the rest of the poem. And fourth, although this list is by no means comprehensive, the title “l (a” Alienation and loneliness is inherent in the separation, the boundary, between those two letters.

Cummings found this emotion and knew just how to take it to his writing. Many men and women of today walk along in life falling slowly to the unbearable end, death, yet many forget this. As one forgets this, we forget the feeling of falling, like a leaf in the wind. In this poem, one can find that feeling, and never seem to let go of it. Also, why does a leaf fall? Leaves fall when they die. Where does it fall from? Leaves fall from trees. Trees are symbolic of life. "Family tree" or "tree of life" and so on. The loneliness outside the brackets represents the feelings of the one left behind.

III.CONCLUSION

In general, E.E Cummings is one of the most innovative poets of his time. Whereas he experimented with his poetic form and language to create a distinct personal style. A typical poems of Cummings is spare and precise, employing a few key words eccentrically. Wherein other critics focused on the subjects of Cummings' poetry. His poetic language was unique by his own. His works, specifically his poems were unusual because they unabashedly focused on such traditional and somewhat passé poetic themes such as love, childhood, flowers. His exalted vision of life and live is served well by his linguistic agility. He was an unabashed lyricist modern cavalier love poet. But alongside his lyrical celebration of nature, love and imagination are his satirical denouncement of tawdry, defiling, flatfooted, urban and political life, open terrain for invective and verbal inventiveness.

LIST OF REFERENCES

Abishek (2016). I Carry your Heart with Me Analysis. Retrieved on August 2017 from

http://www.poetandpoem.com/articles/analysis-of-i-carry-your-heart-with-me-by-e.-e.-

cummings/

Alexis, C. (2016). Analysis of I carry your heart with me By E.E. Cummings. Retrieved on

August 2017 from writing.wise.edu/Handbook/ReadingPoetry.html

Carroll, A. (2014). Analysis: “I (a” by E.E. Cummings. Retrieved on August 2017 from

https://www.google.com.ph/amp/s/facingpower.wordpress.com/2014/12/31/analysis-Ia- by-e-

E-cummings/amp/

Cummings, E. (n.d). The Style and Poetry of E.E Cummings. Retrieved on August 2017 from

https://sites.google.com/a/rbvhs-hirmas.com/group-2-ftw_awesome/about-group-2

Freeman McNeil, (2017). A Poetic Analysis of I have found what you are like. Retrieved on

August 2017 from http://sidespin.kinja.com/a-poetic-analysis-of-i-have-found-what-you-are-

Like-by- 1794742537

Eble, G. (2015). If Poetry Analysis. Retrieved on August 2017 from

http://joshgorczynski2.weebly,com/josh-gorczynkis-blog/-if-poetry-analysis

Imhann, L. (2011). The last poem I loved: “Somewhere I have never travelled, gladly beyond”

By E.E Cummings. Retrieved on August 20, 2017 from http://therumpus.net/2011/06/the-

Last-poem-i-loved-somewherei-have-never-travelledgladly-beyond-by-e-e-cummings/

Mambrol, N. (2016). Structuralism. Retrieved on August 2017 from

https://www.google.com.ph/amp/s/literariness.wordpress.com/2016/03/20/structuralism/amp

McHugh (2011). I have found what you are like by E.E. Cummings Analysis. Retrieved on

August 2017 from https://prezi.com/ddzzjxlduyoh/i-have-found-what-you-are-like-ee-

Cummings/

Cummings Block (2013). If by E.E Cummings. Retrieved on August 2017 from

http://cummingscblock.weebly.com/if.htmlp

Poem Analysis (2017). Analysis of I Carry your Heart with Me by E.E Cummings. Retrieved on

August 2017 from http://poemanalysis.com/i/carry/your/heart//with/me-cummings-poem-

Analysis/

Roberts, L. (2015). Letter Pile.Com: E.E. Cummings. The Power of Structure and Form.

Retrieved on August 2017 from https://letterpile.com/poetry/EE-Cummings-The-Power-of-

Structure-and-Form

Poquette, R. Critical Essay on “Somewhere I have never travelled, gladly beyond”, in Poetry

For Students, Gale 2003.

Shmoop (2017). Structuralism Introduction. Retrieved on August 2017 from

https://www.shmoop.com/structuralism/

Spacey, A. (2016). Analysis of Poem “Somewhere I gave never travelled, gladly beyond: by E.E.

Cummings. Retrieved on August 20, 2017 from https://letterpile.com/poetry/Analysis-of-

Poem-somewhere-i-have-never-travelled-gladly-beyond-by-EECummings

Watson, F. (2011). (A Leaf Loneliness) – E.E. Cummings. Retrieved on August 2017 from

http://www.followtheblueflute.com/2011/10/loneliness-leaf-falls-ee-cummings.html?m=l

Heyen, William. “In Consideration of Cummings.” In Southern Humanities Review, Vol. 7, No.

2, spring 1973, pp. 131-42