E.E. Cummings' poem "the Cambridge ladies who live in furnished souls" offers a satirical exploration of cultural norms and the lives of a particular group of people within the upper crust of Cambridge during the early twentieth century.

As is typical for Cummings, the poet employs distinctive literary devices, such as unconventional punctuation and spacing. This stylistic choice emphasizes his rebellious spirit against traditional conventions and mirrors the critique embedded in the verses. He also uses unique word combinations, such as "sky lavender and cornerless." The unique pairing of words disrupts traditional expectations to create a vivid and surreal image. The absence of punctuation between "sky lavender" and "cornerless" invites the audience to navigate the linguistic space actively, challenging them to visualize a moon confined within a box that lacks corners.

This distinctive use of language not only adds to the poem's unique style but also serves as a metaphorical expression of the Cambridge ladies' confined and perhaps limited perspectives. Cummings' deliberate departure from conventional syntax and imagery becomes a potent means of conveying his rebellious spirit and nuanced critique within the verses.

"The Cambridge ladies who live in furnished souls," with its 14 lines, shares a structural resemblance to a sonnet, albeit intentionally departing from traditional sonnet conventions. Unlike the standard sonnet's strict rhyme scheme and meter, Cummings' poem embraces a free verse style and discards the iambic pentameter commonly associated with sonnets.

The irregular spacing, punctuation, and varying line lengths in the poem defy convection and further showcase Cummings' rebellious spirit. This stylistic choice in itself serves as a juxtaposition to the ladies whom the poem critiques, highlighting the contrast between the rigid cultural expectations imposed on them and Cummings' liberated approach to poetic form. It also interrupts the seamless flow of the words, causing the reader to more closely examine the poem—a demand that mirrors the poet's desire that the subjects of this poem stop what they are doing and more closely examine their own lives.

This poem was written in the years following World War I. The aftermath of the war brought about social change and challenged established values. Cummings' satirical commentary on the Cambridge ladies reflects the broader societal shifts during this period. The portrayal of women conforming to traditional beliefs, as seen in their unwavering religious faith and admiration for Longfellow, may symbolize a resistance to embracing more progressive ideologies that emerged during the postwar era. The poem thus becomes a snapshot of the cultural tensions and resistance to change characteristic of the time.

Cummings was not alone in his exploration of conformity and rebellion during the inter-war years. This was a time when writers of the Modernist Movement, the Harlem Renaissance, and the Lost Generation used their pens to break down social conventions and invent new literary styles. This put Cumminngs in the company of other artists who often sought to explore themes of disillusionment, societal critique, and individual expression.

The geographic focus on Cambridge is likely intentional and holds symbolic significance. Not only did Cummings live in Cambridge, but this city is also home to prestigious institutions such as Harvard University. Longfellow, whom he disparages in the poem, was also a Cambridge resident. Therefore, Cambridge represents a long-established hub of intellectual and academic activity. The poet's choice to center the critique within this specific locale suggests a commentary on the potential pitfalls of intellectual privilege and expectations within such esteemed circles. Additionally, Cambridge's historical and cultural context allows Cummings to showcase a microcosm of accepted norms and behaviors common within intellectual and affluent communities during his time.