“pity this busy monster, manunkind” by e e cummings: A Critical Analysis

Introduction: “pity this busy monster, manunkind” by e e cummings

“Pity this busy monster, manunkind” by e.e. Cummings, first appeared in 1944 as part of his collection 1 x 1, reflects Cummings’ distinctive style, marked by unconventional grammar, punctuation, and wordplay. It critiques the dehumanizing effects of modern technology and scientific progress, portraying “manunkind” as obsessed with control and domination over nature, ultimately leading to its own alienation. The central idea of the poem is the loss of humanity’s natural connection to the world, as it trades organic simplicity for a mechanized, artificial existence. Cummings juxtaposes this with a hopeful belief in nature’s resilience, as expressed in the closing line: “a world of born.”

Text: “pity this busy monster, manunkind” by e e cummings

Annotations: “pity this busy monster, manunkind” by e e cummings

Line	Annotation
pity this busy monster, manunkind,	Cummings refers to humanity as a “monster” that is overly busy with industrialization and modernity, distancing itself from nature and spirituality.
not. Progress is a comfortable disease:	The poet rejects the idea of feeling sorry for humanity’s self-destruction, calling progress a “comfortable disease,” a critique of blind faith in technology.
your victim (death and life safely beyond)	Suggests that in this obsession with progress, life and death become disconnected, with humans acting as if they are beyond natural limitations.
plays with the bigness of his littleness	Ironically highlights humanity’s self-importance, playing with grand ideas while being insignificant in the larger scheme of nature and the universe.
— electrons deify one razorblade	A metaphor for humanity’s overreliance on technology; the poet describes how humans exaggerate the importance of small technological advancements (like electrons).
into a mountainrange; lenses extend	Technology transforms the insignificant (razorblade) into something monumental (mountainrange), using lenses (science/technology) to extend perception artificially.
unwish through curving wherewhen till unwish	Describes how technology twists our understanding of space and time (“wherewhen”) and how human desires (“unwish”) are lost in these distortions.
returns on its unself.	The result is a return to an unrecognizable state, where humans lose their identity (“unself”) in the process of technological expansion.
A world of made is not a world of born	Contrasts the artificial, constructed world (“made”) with the natural, organic world (“born”), emphasizing the alienation caused by modernity.
pity poor flesh	Cummings expresses sympathy for the natural human body (“flesh”) that is vulnerable in contrast to artificial constructs.
and trees, poor stars and stones, but never this	Extends this sympathy to all natural elements—trees, stars, stones—while excluding the artificial, technological world from pity.
fine specimen of hypermagical	Sarcastically refers to humanity’s exaggerated sense of power and control, using the terms “hypermagical” to mock human hubris.
ultraomnipotence. We doctors know	Continues the mockery by suggesting that humanity’s sense of omnipotence (god-like power) is a delusion, something “doctors” would recognize as a “hopeless case.”
a hopeless case if — listen: there’s a hell	The poet interjects, suggesting that humanity is a “hopeless case,” beyond cure.
of a good universe next door; let’s go	The poem ends with an escape fantasy, proposing that a better, healthier universe exists nearby, and suggesting a desire to abandon the flawed world of humanity.

Literary And Poetic Devices: “pity this busy monster, manunkind” by e e cummings

Literary/Poetic Device	Definition	Example from the Poem	Explanation
Alliteration	Repetition of consonant sounds at the beginning of words.	“pity poor flesh”	The “p” sound in “pity” and “poor” creates a rhythmic emphasis on the subject of human vulnerability.
Ambiguity	A word, phrase, or statement with multiple meanings.	“a world of made / is not a world of born”	“Made” and “born” carry ambiguous connotations, contrasting the artificial and natural worlds, allowing for multiple interpretations of creation versus fabrication.
Anaphora	Repetition of the same word or phrase at the beginning of lines.	“pity poor flesh / and trees, poor stars and stones”	The repetition of “pity” and “poor” emphasizes the lament for the natural world, highlighting the damage caused by humanity.
Antithesis	The juxtaposition of contrasting ideas in balanced phrases.	“a world of made / is not a world of born”	The contrast between “made” (artificial) and “born” (natural) emphasizes the divide between human constructs and the natural world.
Assonance	Repetition of vowel sounds within words.	“listen: there’s a hell”	The repetition of the “e” sound in “listen,” “there,” and “hell” creates a rhythmic flow that draws attention to the speaker’s call to action.
Consonance	Repetition of consonant sounds within or at the end of words.	“your victim (death and life safely beyond)”	The “t” sound is repeated in “victim,” “death,” and “beyond,” reinforcing the contrast between life and death.
Enjambment	The continuation of a sentence without a pause beyond a line break.	“electrons deify one razorblade / into a mountainrange”	The sentence flows across two lines without punctuation, creating a sense of continuous action that mirrors the transformation of small to large.
Hyperbole	Exaggeration for emphasis or effect.	“electrons deify one razorblade / into a mountainrange”	The exaggeration of turning a razorblade into a mountain range illustrates the absurdity of how technology magnifies insignificant things.
Imagery	Descriptive language that appeals to the senses.	“trees, poor stars and stones”	The poet uses imagery to evoke the natural world, contrasting it with humanity’s artificial constructs and eliciting sympathy for nature.
Irony	A contrast between expectation and reality.	“Progress is a comfortable disease”	The phrase is ironic, as progress is typically seen as positive, but here it is depicted as a harmful and destructive force.
Juxtaposition	Placement of two or more things side by side for comparison.	“flesh / and trees, poor stars and stones”	The juxtaposition of human flesh with natural elements like trees and stones emphasizes humanity’s connection to and divergence from the natural world.
Metaphor	A direct comparison between two unlike things.	“Progress is a comfortable disease”	Progress is metaphorically compared to a “disease,” suggesting that it is a harmful force disguised as beneficial.
Neologism	A newly coined word or expression.	“unwish,” “hypermagical,” “ultraomnipotence”	Cummings invents new words like “unwish” to reflect abstract concepts, challenging conventional language and intensifying the poem’s themes of complexity and contradiction.
Oxymoron	A figure of speech in which contradictory terms appear together.	“comfortable disease”	The terms “comfortable” and “disease” are opposites, used to highlight the paradoxical nature of progress being both appealing and destructive.
Paradox	A statement that contradicts itself but contains a truth.	“a world of made / is not a world of born”	The paradox lies in the notion that something created (made) cannot truly possess the authenticity of something naturally born.
Personification	Attributing human qualities to inanimate objects or abstract ideas.	“electrons deify one razorblade”	The electrons are personified as “deifying” the razorblade, giving human-like qualities to electrons, exaggerating the significance of technological advancements.
Sarcasm	Use of irony to mock or convey contempt.	“We doctors know / a hopeless case”	Cummings uses sarcasm to mock humanity’s belief in its own power and progress, implying that it is a “hopeless case” beyond help.
Simile	A comparison using “like” or “as.”	None in this poem.	This poem does not use similes explicitly, relying more on metaphors and abstract comparisons instead.
Symbolism	Use of symbols to represent ideas or qualities.	“razorblade,” “mountainrange”	The “razorblade” symbolizes something small and insignificant, while the “mountainrange” represents exaggeration and inflated importance through technological progress.
Wordplay	Clever or witty use of words and meanings.	“unwish,” “unself,” “hypermagical”	Cummings plays with language by creating new words, manipulating prefixes like “un-” to convey abstract concepts of negation and existential questioning.

Themes: “pity this busy monster, manunkind” by e e cummings

1. The Critique of Technological Progress: A central theme of the poem is the critique of unchecked technological progress. Cummings portrays progress as a “comfortable disease,” suggesting that while humanity believes technological advancements are beneficial, they are actually harmful in the long run. This idea is further emphasized when the poet describes how “electrons deify one razorblade into a mountainrange,” highlighting the absurdity of inflating the significance of small technological achievements. Through this metaphor, Cummings questions the dehumanizing effects of technology and warns of its negative impact on the natural world.
2. The Alienation from Nature: Cummings contrasts the natural world with the artificial, manufactured world created by humans. In the lines “A world of made / is not a world of born,” the poet critiques humanity’s alienation from the organic, natural world. He expresses pity for “poor flesh and trees, poor stars and stones,” indicating that the poet sympathizes with the natural elements that are being destroyed or overshadowed by human creations. The world of “made” represents the artificial constructs that replace nature, symbolizing the loss of humanity’s connection to its origins.
3. Human Hubris and Overconfidence: Another key theme is the poet’s critique of human arrogance. Cummings refers to humanity as a “fine specimen of hypermagical ultraomnipotence,” using sarcasm to mock the exaggerated sense of power and control humans believe they have over the world. This idea of hubris is extended when he states, “We doctors know / a hopeless case,” implying that humanity’s belief in its own greatness is beyond remedy. By highlighting this overconfidence, the poet suggests that humanity’s self-perceived omnipotence is leading to its own downfall.
4. The Desire for Escape: In the final lines, Cummings hints at a theme of escape and the possibility of a better alternative. He writes, “there’s a hell of a good universe next door; let’s go,” suggesting that while this world (dominated by human arrogance and technological progress) is beyond saving, there may be another, better universe where harmony and simplicity still exist. This closing sentiment expresses a longing for a world free from the artificial and alienating influences of modern life, where a reconnection with nature and the natural order is still possible.

Literary Theories and “pity this busy monster, manunkind” by e e cummings

Literary Theory	Application to the Poem	References from the Poem
Ecocriticism	Ecocriticism focuses on the relationship between literature and the natural environment. In “pity this busy monster, manunkind,” Cummings critiques humanity’s exploitation of nature in favor of technological progress. The poet laments how human innovation alienates individuals from the natural world, symbolized by the contrast between “made” and “born.”	“A world of made / is not a world of born” highlights the divide between artificial creations and nature, emphasizing the environmental harm caused by human progress. The sympathy for “poor trees, poor stars and stones” further supports this ecocritical perspective.
Postmodernism	Postmodernism often challenges conventional ideas of progress, truth, and meaning, favoring fragmentation, irony, and skepticism. Cummings’ poem reflects postmodern thought by questioning the validity of technological progress (“Progress is a cExistentialism in Literatureomfortable disease”) and rejecting traditional notions of human superiority over nature. The creation of neologisms like “hypermagical” and “ultraomnipotence” adds to the playful, ironic tone typical of postmodernism.	“Progress is a comfortable disease” challenges the idea that technological and scientific advancement inherently benefits humanity, reflecting postmodern skepticism about grand narratives of progress. The sarcastic tone in “fine specimen of hypermagical ultraomnipotence” mocks humanity’s sense of control.
Existentialism	Existentialism explores themes of alienation, individual choice, and the search for meaning in an indifferent universe. In this poem, Cummings addresses the existential alienation of humans from nature and the meaninglessness of their technological pursuits. The closing lines, “there’s a hell of a good universe next door; let’s go,” express a desire to escape from a meaningless, artificial world to one that may offer a deeper sense of existence and connection.	“unwish through curving wherewhen till unwish / returns on its unself” reflects the existential confusion and alienation caused by modern technology. The desire for escape in “let’s go” signifies an existential yearning for a more authentic existence.

Critical Questions about “pity this busy monster, manunkind” by e e cummings

• How does Cummings portray the concept of progress, and what is his attitude toward it?
• Cummings’ portrayal of progress is deeply ironic and critical, as seen in the line “Progress is a comfortable disease.” By describing progress as a “disease,” the poet subverts the conventional view of technological and scientific advancements as inherently positive. The addition of “comfortable” to this metaphor further highlights humanity’s complacency in its reliance on technology, suggesting that people accept harmful innovations without question. Cummings’ tone reflects skepticism toward progress, portraying it as something that isolates humans from the natural world and leads them away from true fulfillment. The description of how “electrons deify one razorblade into a mountainrange” critiques humanity’s tendency to overinflate the significance of its technological achievements, ultimately questioning whether such progress truly benefits society.
• What is the role of nature in the poem, and how does it contrast with the human-made world?
• In “pity this busy monster, manunkind,” nature represents purity and authenticity, in stark contrast to the artificial world created by humanity. Cummings illustrates this tension by contrasting “A world of made” with “a world of born.” The “made” world symbolizes the artificial and mechanical constructs of human progress, while the “born” world refers to the natural, organic processes of life. The poet expresses sympathy for nature’s elements—”poor flesh and trees, poor stars and stones”—suggesting that they are the true victims of humanity’s technological pursuits. Through this contrast, Cummings mourns the loss of humanity’s connection to the natural world, which is increasingly overshadowed by human arrogance and artificiality.
• What does the poem suggest about humanity’s relationship with power and control?
• Cummings’ poem presents a satirical view of humanity’s relationship with power, suggesting that humans possess an inflated sense of their control over the world. The line “fine specimen of hypermagical ultraomnipotence” mocks the idea that humanity has god-like power over nature and the universe. The exaggerated language (“hypermagical” and “ultraomnipotence”) highlights the absurdity of humans believing they are all-powerful. This belief in control is further undermined by the speaker’s statement, “We doctors know a hopeless case,” implying that humanity’s sense of superiority is misguided and unsustainable. By framing humanity as a “hopeless case,” Cummings suggests that humans are not as powerful as they think and that their efforts to dominate nature are ultimately futile.
• What is the significance of the poem’s closing lines, and how do they reflect the speaker’s view of humanity’s future?
• The closing lines of the poem—”there’s a hell of a good universe next door; let’s go”—express a longing for escape from the world that humanity has created. These lines suggest that the speaker views humanity’s current trajectory as irredeemable, with no hope for change in the existing “made” world. The idea of a “good universe next door” offers an alternative vision, perhaps one in which nature and humanity are in harmony rather than in conflict. The casual tone of “let’s go” indicates both a desire to abandon the current world and a resignation that there is no saving it. This ending reflects the speaker’s pessimistic view of humanity’s future, suggesting that the only solution is to leave this world behind in search of something better, a place where human arrogance and technological domination do not prevail.

Literary Works Similar to “pity this busy monster, manunkind” by e e cummings

1. “The Second Coming” by W.B. Yeats
   Similar in its critique of modernity, this poem reflects on societal collapse and the consequences of unchecked human progress.
2. “Dover Beach” by Matthew Arnold
   Like Cummings, Arnold expresses concern over the loss of faith and the growing disconnect between humanity and nature.
3. “God’s Grandeur” by Gerard Manley Hopkins
   Hopkins also critiques industrialization, lamenting humanity’s exploitation of nature and celebrating the enduring power of the natural world.
4. “The World Is Too Much with Us” by William Wordsworth
   This poem similarly explores the alienation of humanity from nature due to materialism and industrialization.
5. “The Waste Land” by T.S. Eliot
   Eliot’s poem, like Cummings’, addresses the spiritual and environmental degradation of the modern world, questioning the direction of human progress.

Representative Quotations of “pity this busy monster, manunkind” by e e cummings

Quotation	Context	Theoretical Perspective
“pity this busy monster, manunkind,”	The opening line introduces the poem’s critique of humanity, portraying “manunkind” as a destructive force.	Ecocriticism: Highlights humanity’s detachment from nature, framing humans as monstrous due to overdevelopment.
“Progress is a comfortable disease:”	This metaphor criticizes the notion of progress, suggesting it is harmful despite being seen as positive.	Postmodernism: Challenges the grand narrative of technological and scientific progress.
“your victim (death and life safely beyond)”	Describes humanity’s perceived control over life and death, furthering the critique of its overconfidence.	Existentialism: Suggests that humans, in their pursuit of control, are alienated from the fundamental nature of life and death.
“plays with the bigness of his littleness”	Ironically points out humanity’s inflated sense of importance in the grand scheme of things.	Postmodernism: Highlights the fragmented, contradictory nature of human self-importance and smallness.
“electrons deify one razorblade into a mountainrange;”	Critiques how humanity turns minor technological advancements into monumental achievements.	Technological Criticism: Focuses on the absurdity of humans deifying technology and overestimating its value.
“A world of made / is not a world of born”	Emphasizes the contrast between the artificial world humans create and the natural world they destroy.	Ecocriticism: Critiques humanity’s preference for artificial constructs over the natural world.
“pity poor flesh / and trees, poor stars and stones”	Expresses sympathy for the natural world, which is seen as the victim of human progress.	Ecocriticism: Suggests that nature suffers as a result of human actions, emphasizing environmental loss.
“fine specimen of hypermagical / ultraomnipotence”	Sarcastically refers to humanity’s exaggerated sense of power and control.	Postmodernism: Uses irony to mock humanity’s self-perceived omnipotence.
“We doctors know / a hopeless case”	Declares that humanity’s belief in its progress and power is beyond help or redemption.	Postmodernism: Cynically implies that humanity’s delusion of power is irreparable.
“there’s a hell of a good universe next door; let’s go”	Ends with an invitation to escape the current, flawed world for a better one.	Existentialism: Expresses the desire to escape a meaningless existence and find a more authentic reality.

Suggested Readings: “pity this busy monster, manunkind” by e e cummings

1. Sickels, Eleanor M. “The Unworld of E. E. Cummings.” American Literature, vol. 26, no. 2, 1954, pp. 223–38. JSTOR, https://doi.org/10.2307/2921833. Accessed 8 Oct. 2024.
2. Cureton, Richard D. “E.E. Cummings: A Study of the Poetic Use of Deviant Morphology.” Poetics Today, vol. 1, no. 1/2, 1979, pp. 213–44. JSTOR, https://doi.org/10.2307/1772048. Accessed 8 Oct. 2024.
3. Fasel, Ida. “The Multiple Approach to Meaning.” College Composition and Communication, vol. 14, no. 1, 1963, pp. 41–43. JSTOR, https://doi.org/10.2307/355299. Accessed 8 Oct. 2024.
4. Essert, Emily. “‘Since Feeling Is First’: E. E. Cummings and Modernist Poetic Difficulty.” Spring, no. 14/15, 2005, pp. 197–210. JSTOR, http://www.jstor.org/stable/43915269. Accessed 8 Oct. 2024.
5. TRIEM, EVE. “E. E. Cummings.” E.E. Cummings – American Writers 87: University of Minnesota Pamphlets on American Writers, NED-New edition, University of Minnesota Press, 1969, pp. 5–44. JSTOR, http://www.jstor.org/stable/10.5749/j.ctttth5r.2. Accessed 8 Oct. 2024.