when a child-like description defines what is uniquely available only in the spring. That is "when the world is mud- luscious"(lines 1-2). Almost immediately cummings uses white space to direct the sound and rhythm of the poem that is not unlike conversation.
             A gradual dream-like state is suggested to the poem's audience by cummings's "far and wee" refrain, which is given increasing white space and therefore longer pauses, until each word of the refrain supports its own line. Initially the refrain complements the speaker's excited springtime revelry; in fact, line five flows nicely with the previous line's slower tempo, and then acts with a slingshot effect to propel the poem's most rapidly read line "and eddieandbill come"(6) with the momentum of the conventional typeset "and wee"(5). Lending an aural push to the sixth line, little tension is attributed to the "lame balloonman."(4) Whereas, white space separates every word of the repeated refrain in line thirteen, which does not lend an aural push to " bettyandisbel come dancing"(14) like it did for the similar line six, and the conflicting tempo effectively incr
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