Classic and Contemporary Poetry: Explained

"One: 27. Memorabilia" by E.E. Cummings is a satirical and witty reflection on the American tourist experience in Venice. Through a mix of languages, vivid imagery, and fragmented structure, Cummings critiques the superficiality and cultural ignorance often displayed by tourists, particularly those from America, who swarm iconic European cities like Venice.

The poem opens with a direct address to Venice, "listen Venezia," setting the stage for what follows as a sort of lament or complaint. By invoking "Venezia," the Italian name for Venice, and mentioning the "glassworks / of Murano," Cummings situates the reader in a culturally rich and historically significant setting. However, this reverence is quickly undercut by the intrusion of American tourists, who are depicted with humor and disdain.

The phrase "elevator nel / mezzo del cammin'," a playful blend of Italian and English, alludes to Dante's "Divine Comedy" ("nel mezzo del cammin di nostra vita" translates to "midway upon the journey of our life"). Here, it refers to an elevator ride "halfway up the Campanile," one of Venice's most famous landmarks. The juxtaposition of Dante's poetic journey with the mundane experience of taking an elevator highlights the contrast between the cultural depth of Venice and the superficial experience of the tourists.

Cummings then shifts to a first-person perspective, "believe / thou me cocodrillo," where he ironically praises his own vision of "the glory of / the coming of / the Americans." The use of "cocodrillo" (crocodile in Italian) humorously suggests that the speaker is addressing a fellow creature or perhaps commenting on the tourist's reptilian-like invasion of Venice.

The "brand of marriageable nymph" armed with "large legs rancid / voices Baedekers Mothers and kodaks" represents the stereotypical American tourist: loud, oblivious, and fully equipped with guidebooks (Baedekers), cameras (Kodaks), and maternal figures. Cummings paints a vivid picture of these tourists overwhelming Venice, particularly "by night upon the Riva Schiavoni or in / the felicitous vicinity of the de l'Europe / Grand and Royal / Danielli," iconic Venetian locations that have become swarmed by tourists.

The tourists are compared to "the stars of Heaven" in their vast numbers, an ironic twist that contrasts their celestial multitude with the earthly, banal reality of their presence. The repeated references to "gondola" underscore the relentless tourist traffic, turning the iconic Venetian gondola into a symbol of the commercialization and degradation of Venice’s cultural heritage.

Cummings continues to mock the tourists' ignorance and shallow engagement with the city, as they misquote or misunderstand cultural references, such as "didn't Ruskin / says about you got the haven't Marjorie / isn't this wellcurb simply darling." This jumble of phrases captures the fragmented and superficial way tourists often perceive their surroundings, missing the depth and meaning of the culture they are supposedly there to appreciate.

The poem closes with a sardonic lament for "Education" and the ubiquitous presence of "thos cook & son," a reference to the well-known travel agency Thomas Cook & Son, which popularized organized tours and mass tourism. The final lines, "(0 to be a metope / now that triglyph's here)," are a classical allusion to the architectural elements of a Doric frieze, humorously suggesting that the speaker wishes to be a mere architectural detail, a part of the ancient world, rather than a participant in the modern tourist frenzy.

In "One: 27. Memorabilia," E.E. Cummings uses humor, irony, and a mix of cultural references to critique the invasion of American tourists in Venice. The poem captures the tension between the rich cultural history of the city and the shallow, consumer-driven experience of the tourists, ultimately lamenting the loss of authenticity in the face of mass tourism. Through his playful language and sharp observations, Cummings invites readers to reflect on the impact of tourism on cultural heritage and the ways in which modern travelers engage with the places they visit.

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