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They’re running the rap game, stealing it from beneath the noses (or from around the necks) of all the fuckboy rappers – Mike and El deliver doses of dopeness like this track in the spirit of your everyday kilo-dropping coke dealer (a chicken of ‘caine is a kilogram of cocaine).

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Mike is an educated guy, much like he says in the R.A.P. Music opening track, “Big Beast”: “We the readers of the books and the leaders of the crooks” – an educated gangsta, “Amerikkka’s nightmare.”

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What is this?

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A reference a line from a Notorious B.I.G. classic, “The What”:

Fuck the world, don’t ask me for shit
Everything you get you gotta work hard for it

In other words – don’t look to them for no handouts, go work for yours.

The track featured Wu-Tang’s Method Man, pictured above with Biggie.

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Even the leaf is broken up, split into two lines: le and af. It’s very melancholy autumnal imagery which serves to convey both the overall message and feel of the poem and the spirit of the season in which leaves fall.

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One is the only multi-character word presented whole in this poem, given a line entirely of its own and establishing some particular importance. Notice how the following line is l, a sole character which resembles the number, 1. As presented in the first line (l [1] separated from a, [the first letter of the alphabet]), one one is separated from another l. Something is separated from another something which is of equal import and/or substance.

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Cummings’s use of the present tense of “fall” – falls – is immediate, present, and engaging. The sentiment of an action that is happening makes for a very direct connection with the reader and indicates that Cummings wants to express something to be felt and reciprocated by the reader: this falling and loneliness.

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As the poem reads, “l(a leaf falls)oneliness,” or “a leaf falls in loneliness” (the parenthetical places itself inside of the word, loneliness), we are certainly prompted to think of what, exactly, Cummings is getting at.

The poem is very broken, the characters are scattered and singular in orientation, and hardly a whole word is presented (see two lines above, one). The main body of the poem seems to be within the parentheses, however, these indicate that their contents are secondary, a side-note to the rest of the poem: loneliness.

Loneliness is broken apart by the parenthetical, the opening parenthesis separating the l from the rest of the word – notice how this l resembles a 1, and how the letter from which it is separated is a (the first letter of the alphabet), and how the next part of loneliness is a word of its own: one, followed again by a singular, 1-resembling l. These all seem to indicate that one is separated from another, perhaps two persons now individual.

To examine the word, loneliness, we notice this does not possess a particularly positive connotation. Instead, loneliness is very distinctly sad, a negative sentiment – one could be in a room full of people and be lonely.

Think of a dedicated, enduring romantic relationship. The Bible puts it best, I think, in that these two become “One Flesh” – they are joined in a way which is almost inseparable (although what Scripture might really mean by this is an entirely different issue), and to separate the two would be to render one flesh, one body, into two. A good relationship gone sour is exemplary of this scattering in which a whole is broken into parts – much like when a leaf falls from a tree, we lose a part of ourselves in the death of a once-powerful relationship, and this is perhaps what Cummings is trying to convey… The scattering effect upon the dissolution of what once was a dedicated, adamantine union.

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Herrick sort of comes full circle in his continued references to nature – “the summer’s rain” and “the pearls of morning’s dew.” He uses these two examples to further illustrate the short-lived quality of life and living. “Everything that is beautiful,” as the poem says, “dies.” The shortness of it all is both its greatest fault and its greatest beauty: only so much time is given, but all the more reason to appreciate that time.

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A human grows from birth so quickly only to begin death and decay, just like the daffodil, which, having bloomed into its beauty, becomes frail and rots. This is the nature of life that dominates Herrick’s perception of existence, and is why he so adamantly supports the carpe diem attitude. Life is what you’re given, so you must live it to its best end.

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These two lines serve to state the real subject of the poem. The daffodil, although given its own stanza, is really only an object of beauty that Herrick uses to form a comparison to mankind. The fleeting life and beauty of the daffodil, then, is used to compare to the equally fleeting and (to Herrick) equally beautiful life of a human.

Humans, Herrick laments, have a comparably short tenure on earth, and ought to make the best out of it. This expresses Herrick’s characteristic carpe diem attitude, which concerns itself with living each day to the fullest. The life we’re given is the greatest gift, and we should live it to the greatest extent.

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