To begin with, total disregard for the form in which most poems are written creates a tempo of a sexual nature. A wonderful example of excellent form in poetry is the Shakespearean sonnet. The sonnet is written in a defined format. The first two lines rhyme, then the next two lines rhyme, and so on. E. E. Cummings in his poem, She Being Brand New, blatantly disregards that format and others like it by leaving out proper punctuation and spacing out or running words together. Cummings is known for this kind of play with words, but the words help establish a melodious aspect to his poem. The words “slo-wly;bare-ly nudg, ing (770)” are purposely used in this context to slow the reading down. Now that the words

have slowed down, a sound or tempo is established in the mind. Likewise, Cummings rushes the words “second-in-to-high like greasedlightning) (771)”, so the poem’s tempo is sped up again, leaving another rhythm established in the mind. In addition, Lucille Clifton’s poem, Homage to My Hips, uses the lack of capitalization to make her poem flow together more smoothly. For example, “these hips are big hips they need space to move around in (768)”. The effect of the words is that the poem feels down-to-earth or easy-to-understand. Without formal grammar, the meaning contained within is observed easier.

Finally, the format and double entendres lead to the theme of sexuality. Sexuality is universal, a theme which replays itself over and over throughout the ages. This is why Marvell’s poem To His Coy Mistress still applies today and can be compared with Clifton’s poem, Homage to My Hips, a modern-day poem. In addition, what makes a poem a poem is the carefully chosen words and their placement create ideas. The artfully chosen words create the rhythm that once established, aids in the pictures formed from the hidden meanings. The two men and one woman are all trying to convince the opposite sex to have sex.

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