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He began to write avant-garde poems in which conventional punctuation and syntax were ignored in favor of a dynamic use of language.Whicher in was, “by verbal ingenuity, without the irony with which another modern poet would treat such a topic, create a sophisticated modern facsimile of the ‘naive’ lyricism of Campion or Blake.” This resulted in what Whicher termed “the renewal of the cliché.” Jenny Penberthy detected in Cummings a “nineteenth-century romantic reverence for natural order over man-made order, for intuition and imagination over routine-grounded perception.His exalted vision of life and love is served well by his linguistic agility.Blackmur wrote in “has a fine talent for using familiar, even almost dead words, in such a context as to make them suddenly impervious to every ordinary sense; they become unable to speak, but with a great air of being bursting with something very important and precise to say.” Bethany K. Further, spacing of key words allows puns which would otherwise be impossible.Dumas wrote in her that “more important than the specific devices used by Cummings is the use to which he puts the devices. Some devices, such as the use of lowercase letters at the beginnings of lines ...Despite their nontraditional form, Cummings’ poems came to be popular with many readers.“No one else,” Randall Jarrell claimed, “has ever made avant-garde, experimental poems so attractive to the general and the special reader.” By the time of his death in 1962 Cummings held a prominent position in 20th-century poetry.Some of these words were invented by Cummings, often by combining two common words into a new synthesis.He also revised grammatical and linguistic rules to suit his own purposes, using such words as “if,” “am,” and “because” as nouns, for example, or assigning his own private meanings to words.He depicted his internment camp stay as a period of inner growth. Smith wrote in ’s emphasis “is upon what the initiate has learned from his journey.In this instance, the maimed hero can never again regard the outer world (i.e., ‘civilization’) without irony.

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