Эдвард Каммингс цитаты

Эдвард Каммингс фото
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Эдвард Каммингс

Дата рождения: 14. Октябрь 1894
Дата смерти: 3. Сентябрь 1962

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Эдвард Эстлин Каммингс — американский поэт, писатель, художник, драматург. Принято считать, что Каммингс предпочитал писать свою фамилию и инициалы с маленькой буквы , однако не существует никаких документальных подтверждений этого факта.

В своей поэтической работе Каммингс проводил радикальные эксперименты с формой, пунктуацией, синтаксисом и правописанием. В некоторых его стихах заглавные буквы не используются; строки, фразы и даже отдельные слова часто прерываются в самых неожиданных местах; знаки препинания или отсутствуют, или расставлены странным образом. Кроме того, Каммингс зачастую нарушал свойственный английскому языку порядок следования слов в предложении. Многие его произведения можно понять только при чтении с листа, но не на слух.

Несмотря на склонность к формальным экспериментам, немалая часть стихов Каммингса носит традиционный характер . В зрелом возрасте Каммингс часто подвергался критике за самоповторы и приверженность раз и навсегда выработанному стилю. Несмотря на это, его простой язык, чувство юмора и эксплуатация таких тем, как секс и война, снискали ему огромную популярность, особенно среди молодёжи.

Всего за время своей жизни Каммингс опубликовал более 900 стихотворений, два романа, несколько пьес и эссе. Кроме того, он является автором большого количества рисунков, набросков и картин.

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Цитаты Эдвард Каммингс

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„To our softhearted altruist, she is the adorably helpless incarnation of saintliness. To our hardhearted egoist, she is the puzzlingly indestructible embodiment of idiocy. The benevolent overdog sees her as an inspired weakling. The malevolent undermouse views her as a born target. Meanwhile Krazy Kat, through this double misunderstanding, fulfills her joyous destiny.“

—  E.E. Cummings
A Foreword to Krazy (1946), Context: This hero and villain no more understand Krazy Kat than the mythical denizens of a two dimensional realm understand some three dimensional intruder. The world of Offissa Pupp and Ignatz Mouse is a knowledgeable power-world, in terms of which our unknowledgeable heroine is powerlessness personified. The sensical law of this world is might makes right; the nonsensical law of our heroine is love conquers all. To put the oak in the acorn: Ignatz Mouse and Offissa Pupp (each completely convinced that his own particular brand of might makes right) are simple-minded—Krazy isn't—therefore, to Offissa Pupp and Ignatz Mouse, Krazy is. But if both our hero and our villain don't and can't understand our heroine, each of them can and each of them does misunderstand her differently. To our softhearted altruist, she is the adorably helpless incarnation of saintliness. To our hardhearted egoist, she is the puzzlingly indestructible embodiment of idiocy. The benevolent overdog sees her as an inspired weakling. The malevolent undermouse views her as a born target. Meanwhile Krazy Kat, through this double misunderstanding, fulfills her joyous destiny.

„The All which is beyond comprehension — the All which is perpetually discovered, yet undiscovered: sexual, sweet, Alive!“

—  E.E. Cummings, Him
Him (1927), Context: A distinct throat. Which breathes. A head: small, smaller than a flower. With eyes and with lips. Lips more slender than light; a smile how carefully and slowly made, a smile made entirely of dream. Eyes deeper than Spring. Eyes darker than Spring, more new... These, these are the further miracles... the breasts. Thighs. The All which is beyond comprehension — the All which is perpetually discovered, yet undiscovered: sexual, sweet, Alive!

„Every artist's strictly illimitable country is himself.“

—  E.E. Cummings
i : six nonlectures (1953), Context: Every artist's strictly illimitable country is himself. An artist who plays that country false has committed suicide; and even a good lawyer cannot kill the dead. But a human being who's true to himself — whoever himself may be — is immortal; and all the atomic bombs of all the antiartists in spacetime will never civilize immortality. Re Ezra Pound (p. 69)

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„Simple people, people who don't exist, prefer things which don't exist,simple things.“

—  E.E. Cummings
Context: Simple people, people who don't exist, prefer things which don't exist, simple things. "Good" and "bad" are simple things. You bomb me = "bad." I bomb you = "good." Simple people(who, incidentally, run this socalled world)know this(they know everything)whereas complex people—people who feel something—are very, very ignorant and really don't know anything. "Foreword to an Exhibit: I" (1944)

„There are certain things in which one is unable to believe for the simple reason that he never ceases to feel them.“

—  E.E. Cummings
is 5 (1926), Context: There are certain things in which one is unable to believe for the simple reason that he never ceases to feel them. Things of this sort— things which are always inside of us and in fact are us and which consequently will not be pushed off or away where we can begin thinking about them— are no longer things; they, and the us which they are, equals A Verb; an IS. Foreword

„It's the most wonderful life on earth.
Or so I feel.“

—  E.E. Cummings
A Poet's Advice (1958), Context: my advice to all young people who wish to become poets is: do something easy, like learning how to blow up the world — unless you're not only willing, but glad, to feel and work and fight till you die. Does this sound dismal? It isn't. It's the most wonderful life on earth. Or so I feel.

„Art is a mystery.
A mystery is something immeasurable.
In so far as every child and woman and man may be immeasurable, art is the mystery of every man and woman and child. In so far as a human being is an artist, skies and mountains and oceans and thunderbolts and butterflies are immeasurable; and art is every mystery of nature.“

—  E.E. Cummings
Context: Art is a mystery. A mystery is something immeasurable. In so far as every child and woman and man may be immeasurable, art is the mystery of every man and woman and child. In so far as a human being is an artist, skies and mountains and oceans and thunderbolts and butterflies are immeasurable; and art is every mystery of nature. Nothing measurable can be alive; nothing which is not alive can be art; nothing which cannot be art is true: and everything untrue doesn’t matter a very good God damn... "Foreword to an Exhibit: I" (1944)

„This hero and villain no more understand Krazy Kat than the mythical denizens of a two dimensional realm understand some three dimensional intruder.“

—  E.E. Cummings
A Foreword to Krazy (1946), Context: This hero and villain no more understand Krazy Kat than the mythical denizens of a two dimensional realm understand some three dimensional intruder. The world of Offissa Pupp and Ignatz Mouse is a knowledgeable power-world, in terms of which our unknowledgeable heroine is powerlessness personified. The sensical law of this world is might makes right; the nonsensical law of our heroine is love conquers all. To put the oak in the acorn: Ignatz Mouse and Offissa Pupp (each completely convinced that his own particular brand of might makes right) are simple-minded—Krazy isn't—therefore, to Offissa Pupp and Ignatz Mouse, Krazy is. But if both our hero and our villain don't and can't understand our heroine, each of them can and each of them does misunderstand her differently. To our softhearted altruist, she is the adorably helpless incarnation of saintliness. To our hardhearted egoist, she is the puzzlingly indestructible embodiment of idiocy. The benevolent overdog sees her as an inspired weakling. The malevolent undermouse views her as a born target. Meanwhile Krazy Kat, through this double misunderstanding, fulfills her joyous destiny.

„Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Etiam egestas wisi a erat. Morbi imperdiet, mauris ac auctor dictum.“

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