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Next to of Course God America I by E.E. Cummings Essay

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Next to of Course God America I by E.E. Cummings

e. e. cummings' poem, "next to of course god america i," is a wonderful example of stylistic variation in a text. Once again, we see his skill and mastery at manipulating the English language in order to foreground a thought and turn it into a commentary on society. As with all of cummings works, there is evidence of a multitude of variances and deviances at work, however, I shall concentrate on the area of language variance, more specifically, domain.
Language variation and the area of domain, subject matter and function, are the easiest kinds of variation to see within a text. Subject matter involves the use of lexical fields, that is to say, a grouping of words, belonging to …show more content…

However, "by jingo by gee by gosh by gum" gives the impression that this speaker has not put any thought into the words he speaks.
The last line of the poem shows the speaker drinking a glass of water rapidly. Why did cummings choose to invert this line? Why does the speaker drink at all? cummings could be mentioning this detail in an effort to portray just how irrelevant this speech really is. The adverb "rapidly" occurs in a most unlikely position in this thought. If we eliminate the need for rhyming "water" with "slaughter," since the necessary rhyme for this poem might well have been achieved without inverting the syntax, then cummings must have had some other reason for the inversion of the syntax. Could it be that by writing a poem, which expresses a theme of "inverted" or confused philosophy, cummings inverts his apparently objective commentary on the situation and the words in which he reports his commentary to produce an ironic tone? This line, then, further serves to point to the "inverted" philosophy of this speaker and foregrounds the insincerity and thoughtlessness behind this speech.
In this poem, carefully worked out in sonnet form, cummings pillories a Fourth-of-July speechmaker by choosing patriotic and religious clichés common to platform oratory and compressing fragments of them together in order to demonstrate the meaningless emptiness that the speakers

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