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The use of the word “fool” implies that there is a lack of intelligence, therefore that intelligence is important; however, in the next stanza, the speaker lets go of intellect entirely, declaring, “kisses are a better fate / than wisdom.”  It is better not to consider wisdom at all; feeling and experience is much more important.

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The line “we are for each other” explicitly identifies the speaker and the addressee as a couple.  “Then” links this line to the next in a causal relationship, meaning “because we are together, laugh.”  The speaker is glad to be in love and revels in the delightful, sensual experience.

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Even though during the height of life we may be able to do whatever we want, eventually we will have to follow the rules, so we should make the most of it while we still can.  Because it uses the threat of death to urge the addressee to hurry up and live life to the fullest, especially through love, e. e. cummings’ “since feeling is first” is essentially a carpe diem poem.

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The progression of life and death also occurs in a temporal sense.  The introductory “since” in the first line of the poem, if read as a conjunction of time rather than causality, means that feeling comes first in life events, and death is last, both in the poem and in life itself

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In addition, although there is never any regular meter, the later lines are more regular than the first ones.  For example, the last line of the poem is perfect iambic pentameter.  This fits the meaning of the poem because the first part is about how feeling is so important, but at the end it is driven home that “death is no parenthesis,” meaning that death is a period, the end, rather than merely a pause or the end of a phase.

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The meter matches the progression of meaning from the freedom of life to impending death.  The poem is in free verse, but many of the feet are anapestic, which gives the poem a rolling, soothing but nevertheless propelling forward motion.

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A parenthesis is only the end of a phrase set off inside a sentence; however, death is not one of those; it is presumably a period, a full stop, the final end.  Once the “parenthesis” is passed, there is no going back, so it is important to make the most of life while it is there.

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This thought is continued in the next stanza, with the repeated word “wholly” linking back to the previous line.  Spring is a time of year known for giddy foolishness, and cummings plays off this idea.

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However, the ambiguousness of sentence structure means that the last two lines of the first stanza, “the syntax of things / will never wholly kiss you,” can also be read together.  Linked together in such a way, this clause means that structure, such as grammar, is not engaging; it does not seize the imagination or emotions the way feeling does.

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“Who pays attention” is a rhetorical question meaning that no one pays any attention.

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The first three lines together could be paraphrased as, “Because feeling comes first, who cares about the rules?”  Feeling is first in order of importance, and the rest does not matter.

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The meaning of the first line is clear, but because of cummings’ characteristic absence of punctuation and capitalization as well as sentence structure, the next few lines are more ambiguous.

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This is immediately evident from the title and first line, which emphasize the word “feeling” in several different ways.  The stresses on “feel-“ and “first,” as well as the alliteration between those two words, make explicit their connection and importance, and the repetition of the same line in both title and first line serves to enhance the effect.

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https://www.mtholyoke.edu/~lbmelton/v1.0/creations/eecummin.html