Puella Mea

Last updated

Puella Mea is a poem by E. E. Cummings. It is notable as his longest poem, at 290 lines. The title is Latin and translates as "My Girl", referring to Elaine Orr Thayer, his first wife, and the mother of his only child, Nancy Thayer Andrews. [1] Von Abele considers the poem to be a departure point for the poet from the "witty romanticism" of his early works. [2]

Contents

Puella Mea, a very early [3] Cummings poem, was first published in the January 1921 issue of The Dial , and then in Tulips and Chimneys (1923), Cummings' first collection of poetry. In 1949 it was published as a separate book by Golden Eagle Press. The book featured illustrations by Cummings, Paul Klee, Amedeo Modigliani, Pablo Picasso, and Kurt Roesch. [1]

Title and content

The title refers to Catullus 3 that reiterates the words in a less conventional order (meae puellae). The change of word order possibly signifies a distant recollection or is simply an attempt to make the title "more Latin", [3] adding "a certain air of elegance" that is missing in the more boring "My Girl". [4] The poem does not sound at all like Catullus; Baker characterizes it as a blend of Romance and the Song of Solomon, pointing, however, to the line "Eater of all things lovely – Time!" that mimics line 14 of Catullus 3 while substituting Time for Catullus' "Shades of Orcus." [3]

The poem highlights the contrast between the living beauty of Cummings' lady and the now-dead female ideals of the writers of the times past. [5] First four lines sum up the remaining text: [6]

Harun Omar and Master Hafiz
keep your dead beautiful ladies.
Mine is a little lovelier
than any of your ladies were

Criticism

Breen suggests that, excluding the overabundance of "concrete sensuousness of physical detail", there is little to note in this "juvenile in theme" poem. [7] Von Abele, on the contrary, describes the poem as "a delightful piece" where historical allusions to Salome, Tristram, Bagdad,[ clarification needed ] Chaucer and Semiramis maintain the distance between the physical body of the girl being praised and the reader, with the latter prevented from visualizing the core of the presentation, [2]

... her large and shapely thighs
in whose dome the trembling bliss
of a kingdom wholly is ...

through the use of "playful euphuism", commonly found in the English love poetry. [2]

Related Research Articles

<span class="mw-page-title-main">Catullus</span> Latin poet of the late Roman Republic (c. 84 – c. 54 BC)

Gaius Valerius Catullus, known as Catullus, was a Latin neoteric poet of the late Roman Republic. His surviving works remain widely read due to their popularity as teaching tools and because of their personal or sexually explicit themes.

<span class="mw-page-title-main">E. E. Cummings</span> American author (1894–1962)

Edward Estlin Cummings, commonly known as e e cummings or E. E. Cummings, was an American poet, painter, essayist, author, and playwright. During World War I, he worked as an ambulance driver and was imprisoned in an internment camp, which provided the basis for his novel The Enormous Room in 1922. The following year he published his first collection of poetry, Tulips and Chimneys, which showed his early experiments with grammar and typography. He wrote four plays; HIM (1927) and Santa Claus: A Morality (1946) were most successful. He wrote EIMI (1933), a travelogue of the Soviet Union, and delivered the Charles Eliot Norton Lectures in poetry, published as i—six nonlectures (1953). Fairy Tales (1965), a collection of short stories, was published posthumously.

An epithalamium is a poem written specifically for the bride on the way to her marital chamber. This form continued in popularity through the history of the classical world; the Roman poet Catullus wrote a famous epithalamium, which was translated from or at least inspired by a now-lost work of Sappho. According to Origen, the Song of Songs might be an epithalamium on the marriage of Solomon with the Pharaoh's daughter.

Choliambic verse, also known as limping iambs or scazons or halting iambic, is a form of meter in poetry. It is found in both Greek and Latin poetry in the classical period. Choliambic verse is sometimes called scazon, or "lame iambic", because it brings the reader down on the wrong "foot" by reversing the stresses of the last few beats. It was originally pioneered by the Greek lyric poet Hipponax, who wrote "lame trochaics" as well as "lame iambics".

The Dial was an American magazine published intermittently from 1840 to 1929. In its first form, from 1840 to 1844, it served as the chief publication of the Transcendentalists. From the 1880s to 1919 it was revived as a political review and literary criticism magazine. From 1920 to 1929 it was an influential outlet for modernist literature in English. In January 2023, The Dial was revived once again as a magazine of international writing and reporting.

<i>Tulips and Chimneys</i> 1923 collection of poetry

Tulips and Chimneys is the first collection of poetry by E. E. Cummings, published in 1923.

<span class="mw-page-title-main">Lesbia</span> Lover of the Roman poet Catullus

Lesbia was the literary pseudonym used by the Roman poet Gaius Valerius Catullus to refer to his lover. Lesbia is traditionally identified with Clodia, the wife of Quintus Caecilius Metellus Celer and sister of Publius Clodius Pulcher; her conduct and motives are maligned in Cicero's extant speech Pro Caelio, delivered in 56 BC.

<i>No Thanks</i> (poetry collection) 1935 collection of poetry

No Thanks is a 1935 collection of poetry by E. E. Cummings. He self-published the collection with the help of his mother and dedicated it to the fourteen publishing houses who turned the collection down. The first edition is unconventionally bound not on the left but rather the top, like a stenographer's pad.

<span class="mw-page-title-main">Catullus 3</span> Poem by 1st-century BC Roman poet Catullus

Catullus 3 is a poem by Roman poet Gaius Valerius Catullus that laments the death of a pet sparrow (passer) for which an unnamed girl (puella), possibly Catullus' lover Lesbia, had an affection. Written in hendecasyllabic meter, it is considered to be one of the most famous of Latin poems.

<span class="mw-page-title-main">Catullus 2</span> Poem by 1st-century BC Roman poet Catullus

Catullus 2 is a poem by Roman poet Gaius Valerius Catullus (c. 84 – c. 54 BCE) that describes the affectionate relationship between an unnamed puella ('girl', possibly Catullus' lover, Lesbia), and her pet sparrow. As scholar and poet John Swinnerton Phillimore has noted, "The charm of this poem, blurred as it is by a corrupt manuscript tradition, has made it one of the most famous in Catullus' book." The meter of this poem is hendecasyllabic, a common form in Catullus' poetry.

Catullus 101 is an elegiac poem written by the Roman poet Gaius Valerius Catullus. It is addressed to Catullus' dead brother or, strictly speaking, to the "mute ashes" which are the only remaining evidence of his brother's body.

<span class="mw-page-title-main">Catullus 8</span> Latin poem by Catullus

Catullus 8 is a Latin poem of nineteen lines in choliambic metre by the Roman poet Catullus, known by its incipit, Miser Catulle.

Latin obscenity is the profane, indecent, or impolite vocabulary of Latin, and its uses. Words deemed obscene were described as obsc(a)ena, or improba. Documented obscenities occurred rarely in classical Latin literature, limited to certain types of writing such as epigrams, but they are commonly used in the graffiti written on the walls of Pompeii and Herculaneum. Among the documents of interest in this area is a letter written by Cicero in 45 BC to a friend called Paetus, in which he alludes to a number of obscene words without actually naming them.

<span class="mw-page-title-main">Poetry of Catullus</span> Poetry of Gaius Valerius Catullus was written towards the end of the Roman Republic

The poetry of Gaius Valerius Catullus was written towards the end of the Roman Republic in the period between 62 and 54 BC.

Catullus 16 or Carmen 16 is a poem by Gaius Valerius Catullus. The poem, written in a hendecasyllabic (11-syllable) meter, was considered to be so sexually explicit following its rediscovery in the following centuries that a full English translation was not published until the 20th century. The first line, Pēdīcābo ego vōs et irrumābō, sometimes used as a title, has been called "one of the filthiest expressions ever written in Latin—or in any other language".

<span class="mw-page-title-main">Midnight poem</span> Poem possibly written by Sappho

The midnight poem is a fragment of Greek lyric poetry preserved by Hephaestion. It is possibly by the archaic Greek poet Sappho, and is fragment 168 B in Eva-Maria Voigt's edition of her works. It is also sometimes known as PMG fr. adesp. 976 – that is, fragment 976 from Denys Page's Poetae Melici Graeci, not attributed to any author. The poem, four lines describing a woman alone at night, is one of the best-known surviving pieces of Greek lyric poetry. Long thought to have been composed by Sappho, it is one of the most frequently translated and adapted of the works ascribed to her.

<span class="mw-page-title-main">Mary R. Bassett</span>

Mary Robertson Bassett was a late 19th and early 20th century illustrator of magazines and children's books.

<span class="mw-page-title-main">Since feeling is first</span> 1926 poem by E. E. Cummings

"since feeling is first" is a poem written by E. E. Cummings. The poem was first published in 1926 in Is 5, a collection of poems published by Boni and Liveright, and, like most Cummings poems, is referred to by its first line. In the collection, the poem is labeled Four VI. The poem is written in Cummings's characteristic style, which lacks traditional orthography and punctuation.

Him is a three-act play written by poet E.E. Cummings. The play was first published in November 1927 and premiered in New York during the spring of 1928. Him is sometimes called a precursor to Theatre of the Absurd but has also been described as being surrealistic and in the German expressionist tradition. It is heavily influenced by Freudian psychology as well as popular culture of the 1920s.

References

  1. 1 2 Ordeman & Firmage 2000, p. 167.
  2. 1 2 3 Von Abele 1955, p. 926.
  3. 1 2 3 Baker 1959, p. 233.
  4. Breen 1958, p. 280.
  5. Buck 2011, p. 138.
  6. Breen 1958, p. 279.
  7. Breen 1958, pp. 279–280.

Sources