EE cummings :: essays research papers

Not every day, a writer changes the way people write forever. ee Cummings created his own style of writing, and many people use it to this day. Before Cummings all writing was based on the rules, Cummings made his own rules. Cummings writings have influenced many writers to make there own rules. Cummings had an amazing life. Not only was Cummings a writer but also an artist. Cummings was very intelligent, Cummings parents knew this and encouraged him to develop his creative gifts early in his life. Cummings work experiences changed his life forever. ee Cummings is more widely imitated and more easily appreciated than any other modernist poet. Edward Estlin Cummings was born, October 14, Cambridge, Massachusetts to Edward and Rebecca Haswell Clarke Cummings. THe cummings household include at various times Grandmother Cummings, MISS JANE CUMMINGS ("Aunt Jane"), EEC's maternal uncle, GEORGE CLARKE, and younger sister ELIZABETH ("Elos"), who eventually marries Carlton Qualey. EEC attends Cambridge public schools, Cummings parents encouraged him to develop his creative gifts early in his life. Cummings father Edward Cummings was a college professor at Harvard University and also later became a pastor at South Congregational church. In 1911Cummings Enters Harvard College, specializing in Greek and other languages He contributes poems to Harvard periodicals, is exposed to the work of Ezra Pound and other modernist writers and painters While at Harvard Cummings delivered a daring commencement speech on modernist artistic innovation, thus announcing the direction his own work would take. Cummings published his first poem in the Harvard monthly. In 1915 Cummings Graduates Harvard Magna cum Laude, and in 1916 Cummings receives M.A. for English and Classical Studies. After Harvard Cummings lives in New York with artist ARTHUR WILSON. Cummings Works for P. F. Collier & Son. Cummings joins Norton-Haries Ambulance Corps. Sails for France on La Touraine, meeting on board another Harjes-Norton recruit, WILLIAM SLATER BROWN, who will remain his lifelong friend. After several weeks in Paris ee cummings and Brown are assigned to ambulance duty on Noyon sector. Brown's letters home arouse suspicions of French army censor.

High School Student

Karina Canas English 2323 2/15/12 Supernatural vs. Natural Ever been watching television and out of nowhere a picture frame or some other object fall without anyone moving it? Was it some supernatural power that caused it to fall like a ghost that is haunting a house or was the picture frame just placed wrong? The Castle of Otranto has many mysterious events that happen all throughout the novel, but not all of them are said to be supernatural. Some of the events can actually be explained, but others can’t therefore are said to be supernatural.The very first thing that happens in the novel is the giant helmet â€Å"larger than any casque ever made for human beings† that had fallen randomly out of the sky and crushed Conrad. There is no reasonable explanation to how anyone could have dropped it on Conrad because it was that huge that no one could have lifted it. One of the events that can be explained is when Manfred is trying to chase after Isabella but stops when the â €Å"moon presented to his sight the plumes of the fatal helmet, which rose to the height of the windows, waving backwards and forwards in a tempestuous manner, and accompanied with a hollow and rustling sound†.The reflection of the moon casted a shadow of the helmet and the wind caused the shadow to appear to be waving. The rustling sound was most likely made by the animals or the guards walking. This event appears to be natural though it does give the setting a scary atmosphere. Falling photograph frames are somewhat normal, but Horace Walpole took it a little farther and mentioned the portrait of Manfred’s â€Å"grandfather uttered a deep sigh, and heaved its breast†. Not only did his grandfather in the portrait sighed, but â€Å"it also quit its panel, and descended on the floor with a grave and melancholy air and then motion for Manfred to follow him†.Just like in Harry Potter moving portraits that talk are fictions, but it is a very effective way to raise the climax and give the reader a feeling of mystery and raise the climax. Especially when he finally gets to the door of the chamber and it is â€Å"clapped to with violence by an invisible hand†. The door is not actually held by an invisible hand. It is most likely locked up that’s why Manfred has a hard time opening the door. Later while Manfred is searching for Isabella, his guards Diego and Jaquez manage to get the door open and find what they believe to be a â€Å"giant lying down, for the foot and leg were stretched at length on the floor†.This giant could possibly be the owner of the giant helmet at the beginning of the novel, but there is still no explanation of how the giant got to the chamber without anyone noticing it. Even the guards mention how the giant is supernatural for they suggest for Manfred to â€Å"send for the chaplain, and have the castle exorcised because it appears to be enchanted†. Towards the end of the novel Frederic men tions that while he was in the forest he found a hermit who â€Å"St. Nicholas had appeared to and revealed a secret that he was to disclose to mortal man only on the day of his death-bed†.The apparition of a dead saint is supernatural because the dead don’t come back to life. When Manfred offers Frederic to marry his daughter Matilda â€Å"three drops of blood fell from the nose of Alfonso’s statue meaning that the blood of Alfonso will never mix with that of Manfred†. There has been many cases where it is said that statues bleed or cry, and even though there are proofs there is no logically explanation to this events other than the fact that they are supernatural.As mention there are many mysterious events which cannot be explained, but give a sense of scariness in the novel. The most effective in mystery are the giant helmet which gives intrigues the reader to keep on reading to try and solve the mystery of it and the grandfather coming out of his port rait and leading Manfred to the giant who could possibly the owner of the mysterious helmet. Supernatural and natural events are both great to create mystery that sometimes it is hard to tell them apart.

Definition and Examples of Pathos in Rhetoric

In classical rhetoric, pathos is the means of persuasion that appeals to the emotions of an audience. Adjective: pathetic. Also called  pathetic proof and emotional argument.The most effective way to deliver a pathetic appeal, says W.J. Brandt, is to lower the level of abstraction of ones discourse. Feeling originates in experience, and the more concrete writing is, the more feeling is implicit in it (The Rhetoric of Argumentation). Pathos is one of the three kinds of artistic proof in Aristotles rhetorical theory. Etymology: From the Greek, experience, suffer Pronunciation: PAY-thos Examples and Observations Of the three appeals of logos, ethos, and pathos, it is the [last] that impels an audience to act. Emotions range from mild to intense; some, such as well-being, are gentle attitudes and outlooks, while others, such as sudden fury, are so intense that they overwhelm rational thought. Images are particularly effective in arousing emotions, whether those images are visual and direct as sensations, or cognitive and indirect as memory or imagination, and part of a rhetors task is to associate the subject with such images.(L. D. Greene, Pathos. Encyclopedia of Rhetoric. Oxford University Press, 2001)Most twenty-first-century direct mail solicitations for environmental groups invoke the pathetic appeal. The pathos exists in the emotional appeals to the receivers sense of compassion (for the dying animal species, deforestation, the shrinking of glaciers, and so on).(Stuart C. Brown and L.A. Coutant, Do the Right Thing. Renewing Rhetorics Relation to Composition, ed. by Shane Borrowman et al . Routledge, 2009)Cicero on the Power of Pathos[E]veryone must acknowledge that of all the resources of an orator far the greatest is his ability to inflame the minds of his hearers and to turn them in whatever direction the case demands. If the orator lacks that ability, he lacks the one thing most essential.(Cicero, Brutus 80.279, 46 B.C.)Quintilian on the Power of Pathos[T]he man who can carry the judge with him, and put him in whatever frame of mind he wishes, whose words move men to tears or anger, has always been a rare creature. Yet this is what dominates the courts, this is the eloquence that reigns supreme. . . . [W]here force has to be brought to bear on the judges feelings and their minds distracted from the truth, there the orators true work begins.(Quintilian, Institutio Oratoria, c. 95 A.D.)Augustine on the Power of PathosJust as the listener is to be delighted if he is to be retained as a listener, so also he is to be persuaded if he is to be moved to act. And just as he is delighted if you speak sweetly, so is he persuaded if he loves what you promise, fears what you threaten, hates what you condemn, embraces what you commend, sorrows at what you maintain to be sorrowful; rejoices when you announce something delightful, takes pity on those whom you place before him in speaking as being pitiful, flees those whom you, moving fear, warn are to be avoided; and is moved by whatever else may be done through grand eloquence toward moving the minds of listeners, not that they may know what is to be done, but that they may do what they already know should be done.(Augustine of Hippo, Book Four of On Christian Doctrine, 426)Playing on the Emotions[I]t is perilous to announce to an audience that we are going to play on the emotions. As soon as we appraise an audience of such an intention, we jeopardize, if we do not entirely destroy, the effectiveness of the emotional appeal. It is not so with appeals to the understanding.(Edward P.J. Corbett and Robert J . Connors, Classical Rhetoric for the Modern Student, 4th ed. Oxford University Press, 1999)All About the Children- It has become a verbal tic for politicians to say that everything they do is about the children. This rhetoric of pathos reflects the de-intellectualization of public life—the substitution of sentimentalism for reasoned persuasion. Bill Clinton carried this to comic lengths when, in his first State of the Union address, he noted that not a single Russian missile is pointed at the children of America.Those children-seeking missiles were diabolical.(George Will, Sleepwalking Toward DD-Day. Newsweek, October 1, 2007)- A brilliant young woman I know was asked once to support her argument in favor of social welfare. She named the most powerful source imaginable: the look in a mothers face when she cannot feed her children. Can you look that hungry child in the eyes? See the blood on his feet from working barefoot in the cotton fields. Or do you ask his baby sister wi th her belly swollen from hunger if she cares about her daddys work ethics?(Nate Parker as Henry Lowe in The Great Debaters, 2007)Stirred, Not ShakenHillary Clinton used a moment of brilliantly staged emotion to win the New Hampshire Democratic primary . . .. As she answered questions in a diner on the morning before the election, Mrs. Clintons voice began to waver and crack when she said: Its not easy. . . . This is very personal for me.Emotions can be an electoral trump card, especially if one can show them as Mrs. Clinton did, without tears. The key is to appear stirred without appearing weak.(Christopher Caldwell, Politics of the Personal. Financial Times, January 12, 2008)Winston Churchill: Never give in[T]his is the lesson: Never give in. Never give in. Never, never, never, never—in nothing, great or small, large or petty—never give in, except to convictions of honour and good sense. Never yield to force. Never yield to the apparently overwhelming might of the en emy. We stood all alone a year ago, and to many countries, it seemed that our account was closed, we were finished. All this tradition of ours, our songs, our School history, this part of the history of this country, were gone and finished and liquidated. Very different is the mood today. Britain, other nations thought, had drawn a sponge across her slate. But instead, our country stood in the gap. There was no flinching and no thought of giving in; and by what seemed almost a miracle to those outside these Islands, though we ourselves never doubted it, we now find ourselves in a position where I say that we can be sure that we have only to persevere to conquer.(Winston Churchill, To the Boys of Harrow School, October 29, 1941)Artful Persuasion: A Pathetic ParodyDuring the 1890s, the following genuine letter from a homesick schoolboy was reprinted in several magazines. A century later, British journalist Jeremy Paxman quoted it in his book  The English: A Portrait of a People, whe re he observed that the letter is so perfect in its depictions of the horrors and so cunning in its attempts to extract sympathy before the appeal for cash that it reads like a parody.One suspects that it  reads  like a parody because thats exactly what it is.My  Dear Ma—I wright to tell you I am very retched and my chilblains is worse again. I have not made any progress and do not think I shall. I am very sorry to be such an expence, but I do not think this schule is any good. One of the fellows has taken the crown of my best hat for a target, he has now borrowed my watch to make a water wheal with the works, but it wont act. Me and him have tried to put the works back, but we think some wheels are missing, as they wont fit. I hope Matildas cold is better. I am glad she is not at schule I think I have got consumption, the boys at this place are not gentlemanly, but of course you did not know this when you sent me here, I will try not to get bad habits. The trousers hav e worn out at the knees. I think the tailor must have cheated you, the buttons have come off and they are loose behind. I dont think the food is good, but I should not mind if I was stronger. The piece of meat I send you is off the beef we had on Sunday, but on other days it is more stringy. There are black beadles in the kitchen and sometimes they cook them in the dinner, which cant be wholesome when you are not strong.Dear Ma, I hope you and Pa are well and do not mind my being so uncomfortable because I do not think I shall last long. Please send me some more money as io 8d. If you cannot spare it I think I can borrow it of a boy who is going to leave at the half quarter and then he wont ask for it back again, but perhaps you wd. not like to be under an obligation to his parents as they are tradespeople. I think you deal at their shop. I did not mention it or I dare say they wd. have put it down in the bill.—Yr. loving but retched son(Switchmens Journal, December 1893;   The Travelers Record, March 1894;  The Collector, October 1897)An instructors first impulse might be to assign this letter as an editing exercise and be done with it. But lets consider some of the richer pedagogical opportunities here.For one thing, the letter is a smart example of pathos, one of the three categories of artistic proof discussed in Aristotles  Rhetoric. Likewise, this homesick schoolboy has masterfully executed two of the more popular logical fallacies: ad misericordiam  (an argument based on an exaggerated appeal to pity) and the appeal to force  (a fallacy that relies on scare tactics to persuade an audience to take a particular course of action). In addition, the letter aptly illustrates the effective use of kairos—a classical term for saying the appropriate thing at the appropriate time.Soon Ill be asking my students to update the letter, retaining the same persuasive strategies while freshening the litany of horrors.(Grammar Composition Blog, Aug ust 28, 2012) The Lighter Side of Pathos: Pathetic Appeals in Monty Python Restaurant Manager: I want to apologize, humbly, deeply, and sincerely about the fork.Man: Oh please, its only a tiny bit. . . . I couldnt see it.Manager: Ah, youre good kind fine people for saying that, but I can see it. To me its like a mountain, a vast bowl of pus.Man: Its not as bad as that.Manager: It gets me here. I cant give you any excuses for it--there are no excuses. Ive been meaning to spend more time in the restaurant recently, but I havent been too well. . . . (emotionally) Things arent going very well back there. The poor cooks son has been put away again, and poor old Mrs. Dalrymple who does the washing up can hardly move her poor fingers, and then theres Gilbertos war wound--but theyre good people, and theyre kind people, and together we were beginning to get over this dark patch. . . . There was light at the end of the tunnel. . . . Now, this. Now, this.Man: Can I get you some water?Manager (in tears): Its the end of the road!(Eric Idle and Graham Chapman, episode th ree of Monty Pythons Flying Circus, 1969)