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E. E. Cummings' Modernism and the ClassicsEach Imperishable Stanza$
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J. Alison Rosenblitt

Print publication date: 2016

Print ISBN-13: 9780198767152

Published to Oxford Scholarship Online: November 2016

DOI: 10.1093/acprof:oso/9780198767152.001.0001

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‘a twilight smelling of Vergil’

‘a twilight smelling of Vergil’

Cummings, Classics, and the Great War

Chapter:
(p.113) 6 ‘a twilight smelling of Vergil’
Source:
E. E. Cummings' Modernism and the Classics
Author(s):

J. Alison Rosenblitt

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780198767152.003.0006

Chapter 6 considers Cummings as a war poet, drawing on the relationship between his war poetry and his engagement with the classical tradition. Cummings puts sex, gender, and sexual violence at the centre of the links he forges between the Classics and the Great War. This chapter looks at a series of four poems—each of which reveals aspects of Cummings’ exploration of the war, Classics, sex, and gender. ‘Helen’ considers the sexual investment of women in the male display of war. ‘earth like a tipsy’ depicts earth as a cleaning woman, ridding herself of the destroyed male bodies of a crucifix and of the discobolus of Myron. ‘through the tasteless minute efficient room’ explores the blurring of Classics and war, language and sex, military and syntactic order through the sexual encounter between a soldier and a prostitute. Finally, ‘O sweet spontaneous’ shows the sexual violation of earth by warfare.

Keywords:   Great War, prostitutes, i: six nonlectures, gender, Helen of Troy, Myron, Greek statues

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