Edward Estlin Cummings had an earnestly passionate tone in much of his love poetry, and a perfect example is you being in love, published in is 5 in 1926. Throughout the poem, he employs several mechanical techniques to achieve his desired effect: the glorification of love and the creation of a breathless (and henceforth passionate) quality.

The most obvious, physical technique is his manipulation of capitalization, punctuation, and grammar. He only occasionally capitalizes one word in the poem, and that is love:

-what does it all come down to? Love? Love/ if you like and i like.

He then later uses the word love again, yet he does not capitalize it. This contrast between all lowercase letters (including his well-known i) and then one or two capitalized words is effective, though perhaps a bit over-used after a while, in that almost all of his poems employ this technique, which makes it less... special. At least in my opinion. I know that Cummings was a revolutionary in his time, but he never really evolved past this stage.

Yet another trademark of Cummings was his deliberate use of punctuation, which controls the breathing pattern when reading the poem aloud, as opposed to simply using it to mimic the natural pauses of a speaker. This allows him to control the emphasis placed on certain words, and to make something as trivial as a comma an important device for tone and meaning.

for the reason that i/ hate people and lean out of this window is love, love/ and the reason that i laugh and breathe is oh love and the reason// that i do not fall into this street is love.

In this last line, his use of the comma is very conscious, and the combination of run-on sentences with well-placed extra words evokes a feeling of passion when read aloud. In addition, we see how the eccentric ways in which Cummings utilizes typographical devices such as irregular punctuation and capitalization are very important to the tone of the poem, as they help him to create a specific mood.