It takes courage to grow up and become who you really are.
E.E. Cummings
Барои калон шудан ва шахсияти ҳақиқии худ шудан далерӣ лозим аст.
Э.Э.Каммингс
بزرگ شدن و تبدیل شدن به آنچه خود واقعی تان هستید، شجاعت می خواهد.
ادوارد استلین کامینگز
E.E. Cummings’ quote, “It takes courage to grow up and become who you really are,” is a profound reflection on the challenges and bravery involved in personal growth and self-discovery.
Here’s a breakdown of the quote’s meaning:
“It takes courage”: This part emphasizes the strength and determination required to embark on the journey of self-discovery. It suggests that becoming one’s true self is often met with resistance, both internal and external.
“to grow up and become who you really are”: This part highlights the process of maturation and self-realization. It implies that true growth involves shedding societal expectations and conforming to societal norms, and embracing one’s unique identity.
In essence, Cummings’ quote encourages individuals to be authentic and courageous in their pursuit of self. It acknowledges that the path to self-discovery is often fraught with challenges, but ultimately rewards those who have the courage to embrace their true selves.
Edward Estlin Cummings (October 14, 1894 – September 3, 1962), commonly known as e e cummings or E. E. Cummings, was an American poet, painter, essayist, author, and playwright. During World War I, he worked as an ambulance driver and was imprisoned in an internment camp, which provided the basis for his novel The Enormous Room in 1922. The following year he published his first collection of poetry, Tulips and Chimneys, which showed his early experiments with grammar and typography. He wrote four plays; HIM (1927) and Santa Claus: A Morality (1946) were most successful. He wrote EIMI (1933), a travelog of the Soviet Union, and delivered the Charles Eliot Norton Lectures in poetry, published as i—six nonlectures (1953). Fairy Tales (1965), a collection of short stories, was published posthumously.
Cummings wrote approximately 2,900 poems. He is often regarded as one of the most important American poets of the 20th century. He is associated with modernist free-form poetry, and much of his work uses idiosyncratic syntax and lower-case spellings for poetic expression. M. L. Rosenthal wrote that:
The chief effect of Cummings’ jugglery with syntax, grammar, and diction was to blow open otherwise trite and bathetic motifs through a dynamic rediscovery of the energies sealed up in conventional usage … He succeeded masterfully in splitting the atom of the cute commonplace.
For Norman Friedman, Cummings’s inventions “are best understood as various ways of stripping the film of familiarity from language to strip the film of familiarity from the world. Transform the word, he seems to have felt, and you are on the way to transforming the world.
The poet Randall Jarrell said of Cummings, “No one else has ever made avant-garde, experimental poems so attractive to the general and the special reader.” James Dickey wrote, “I think that Cummings is a daringly original poet, with more vitality and more sheer, uncompromising talent than any other living American writer.” Dickey described himself as “ashamed and even a little guilty in picking out flaws” in Cummings’s poetry, which he compared to noting “the aesthetic defects in a rose. It is better to say what must finally be said about Cummings: that he has helped to give life to the language.
