The poem ‘‘In Just’’ is pieced together and deciphered based on love and deliberately visualizes the external world in portraying its intended message. On the whole, the poem depicts apprehension of the coming of spring from a childhood visionary perspective. It is woven in satire and rhythmic analysis bordering on irony. Arguably, the poem depicts the inner meanings of the wordings that appear on the surface of things.
The poem, In Just, has a comprehensive verbal insinuation, skills, and stylistic tools. In the poem, the author employs the use of unique and differentiating rhythmic patterns as well as a deeper sensation present, all of which are characterized by noticeable visual imagery. For instance, the rhythmic and aural features portrayed in the poem make the wording more complex and inculcate a non-verbal orientation to its wording (Norman 14).
This means that it is among others, asymmetrically rhythmic, and entails a sequence of momentum and balance which are alternated through a significantly slowed tempo and rhythm. When one examines the dimension of joining the children’s names, he/she cannot fail to see how they capture the view of innocence but also the effective momentum in them for love’s thematic development. In between words’ sense of spacing (three repeated refrain) is a reflection of a momentum that is altered yet joined at the same time.
An example is ‘‘whistles/far and wee’’ joined together with ‘’lame balloon man.’’ Notable, however, is that while this example reflects a natural flow, it is nonetheless ambiguous and vague in depicting the environment of happy innocence shown by the view of the playing children (Roberts and Zweig 55).
Arguably, therefore, the alternating patterns do not give justice to the meaning reflected on the surface of things. In a sense, it attempts by the author to portraying the innocence symbolized by the children at the beginning of spring to be a lot more complex. In a complete opposite, the rhythms, in this case, produce the fear of a mysterious feeling and a sense of vagueness, much as it creates suspense and silence.
This, in the long run, makes the poem very ironic, satirical, and a display of an embodiment of cognitive dissonance. It leaves only the differentiated and unique rhythmic sequence of the poem to reflect its sense of importance as well as impact which goes beyond the contextual meaning of the words. However, the aural character of the poem should not be undermined in terms of its significance. This is because it seems to depict the context of rhyme and rhythm (Roberts and Zweig 54). Indeed, there are several illustrations to this effect. For example, there are fairly long vowels like ‘’far and we,’’ and others such as’ marbles and piracies’’ which make the tempo slow and provides an opportunity for the creation of a smoother rhythm besides bringing in the effect of a pleasing melody (Roberts and Zweig 56).
Further, this reflects a deeper tone of quality and regret which also goes against the grain in terms of wording and ideas that reflect joyous moments of a renewal depicted by the children as the spring sets in (Norman 14).
In summary, the mysterious depiction of the poem which is mostly laced in aura and ambiguity penetrates the whole poem and overlooks the wording. In the long run, the composer succeeds in emphasizing his want, both in terms of the shallow meanings of the poem and the underlying semantics.
Works Cited
Norman, Pollack. “Poems of Cummings Set to Music.” The Journal of the E. E. Cummings Society 4.5 (1995): 123-24. Print
Roberts, Edgar, and Robert Zweig. Literature: An Introduction to Reading and Writing. New York: Prentice Hall Publishing, 2011. Print.