In "Pity this busy monster, manunkind," E.E. Cummings critiques the trajectory of modern progress through the lens of nature's inherent wisdom. He argues that science and technology, driven by intellectual hubris, undermine and distort the purity of natural existence. Cummings highlights the dissonance between artificial and natural worlds, urging a return to the latter's simplicity and authenticity.

The Illusion of Progress

At the heart of the poem lies Cummings' assertion that mankind's so-called "progress" is more of a hindrance than a boon. He opens with the notion that humanity, rather than being kind and nurturing, becomes "un-kind" when entangled in the pursuit of advancement. This advancement is depicted as a "comfortable disease," a metaphor that suggests progress is insidiously appealing yet fundamentally flawed. According to Cummings, technology and scientific endeavors exaggerate trivial things, such as turning a mundane razor blade into a grandiose "mountainrange," through the manipulation of electrons and lenses.

Cummings further illustrates how these technological tools warp reality and distance individuals from their natural selves. The phrase "lenses extend unwish through curving wherewhen till unwish returns on its unself" evokes an image of distortion and regression, where ambitions and desires lose touch with their true essence. Through these lines, Cummings paints a stark contrast between the artificial constructs of progress and the organic, untainted world.

Worlds of "Made" and "Born"

The poet poignantly differentiates between what is "made" by human hands and what is "born" of nature. He underscores this disparity with the powerful assertion: "A world of made / is not a world of born." Here, Cummings argues that fabricated reality lacks the authenticity and vitality inherent in the natural world. In this light, the "world of made" stands as a false facade, a hollow imitation of the vibrant universe fashioned by nature.

By contrasting these two worlds, Cummings invites readers to reconsider their values and perceptions. Should they continue to idolize the artificial achievements of mankind, or should they embrace the organic beauty and truth that nature offers?

The Speaker's Perspective

In the concluding lines, the speaker, who embodies the voice of progress, seems to acknowledge the futility of humanity's current path. Identified as a "doctor," the speaker admits to recognizing a "hopeless case" in the relentless cycle of scientific advancement. This acknowledgment signals an awareness of the limitations and hollowness that pervade human efforts to dominate and reshape the natural world.

Cummings uses this moment to present an alternative, a redemptive possibility for humanity. The speaker's invitation to "listen: there’s a hell / of a good universe next door; let’s go" offers a vision of hope and renewal. This neighboring universe represents a realm untainted by the negative constructs Cummings critiques, such as "unwish" and "unself." It is a universe where genuine desires and identities can flourish, untouched by the corrosive influence of misguided ambition.

Embracing True Realities

Ultimately, Cummings' poem serves as a meditation on the need to abandon the allures of superficial progress in favor of embracing the true realities grounded in nature. It is a call to return to authenticity, to reconnect with the emotional and individual essence that technology often obscures. For Cummings, these "real emotions and real individuals" are the cornerstones of a meaningful existence.

In "Pity this busy monster, manunkind," Cummings challenges readers to reflect on their relationship with the world around them. He urges a reevaluation of progress and a consideration of the cost at which it comes. By advocating for a shift away from the artificial towards the natural, Cummings envisions a path to a more genuine and fulfilling life.