文体学e.e.cummings诗歌分析

Appreciation of E.E. Cummings PoetryFrom the Perspective of Foregrounding1. Introduction to CummingsE. E. Cummings, poet and cubist painter, was the representative of American modern experimental poets. As a poet and painter, Cummings reflected the harmony of poems and paintings in his works, eschewing the conventional rhymes and syntactic structure of poems and even rejecting to transfer information and emotion in the way of conventional printing.2.Foregrounding in PoetryThe term ‘foregrounding’ is borrowed by stylisticians from art criticism, which distinguishes between the foreground and the background of a painting. The theory of foregrounding is probably the most important theory within Stylistic Analysis, and foregrounding analysis is arguably the most important part of the stylistic analysis in poetry.Leech’s Theory on ForegroundingForegrounding is realized by linguistic deviation and linguistic parallelism.Figure 1 The Realization of Foregrounding (Leech) Leech divides deviation into eight types: lexical deviation, grammatical deviation, phonological deviation, graphological deviation, semantic deviation, dialectal deviation, deviation of register and deviation of historical period. Now we construct a new pattern of the realization of foregrounding.Figure 2 The Realization of ForegroundingFigure 2 illustrates thatthe linguistic deviation and overregularity produceforegrounding. Linguistic deviation consists of lexical deviation, grammatical deviation, phonological deviation, graphological deviation and deviation of meaning. Linguistic overregularity includes phonological overregularity, lexical overregularity and grammatical overregularity, in which phonological overregularity consists of phonemic patterning and rhythmic patterning; lexical overregularity refers to lexical repetition; grammatical overregularity can be further divided into repetition and parallelism.3. Analysis of Cummings’ poem “in Just-”1. in Just-2. spring when the world is mud-3. luscious the little4. lame balloonman5. whistles far and wee6. and eddieandbill come7. running from marbles and8. piracies and it's9. spring10. when the world is puddle-wonderful11. the queer12. old balloonman whistles13. far and wee14. and bettyandisbel come dancing15. from hop-scotch and jump-rope and16. it's17. spring18. and19. the20. goat-footed21. balloonMan whistles22. far23. and24. wee3.1 Graphological DeviationThe most striking in this poem is perhaps the fact that there is no title. Rather, it is only one clause which runs over the whole poem. that only one clause runs over the whole poem. This may show that poet intends the poem to be read as a whole and places emphasis on the unity of the discourse. The important effect created is the arousal of the reader’s expectation and interest. This is because when the reader reads the first line, he gets a sense of incompleteness and, therefore would like to read on to find out ‘what’ is said. Taking a close look at the whole poem, we find that every line of the poem, in fact, creates a pulling-forward effect, though there may be differences in the degrees of strength.3.2 Lexical DeviationWhat may strike us is the compound nounsgoat-footed, mud-luscious , puddle-wonderful, balloonman, eddieandbill, bettyandisbel are ‘nonce-formations’ (the words the literary writer invents).The Function:1. The unusu al compounds that Cummings invents are suggestive of a “child’s language”: hence, mud-luscious (pleasant muddy) and puddle-wonderful (= pleasant puddly). mud-luscious and puddle-wonderful evoke the joyful scenery-the children playing happily on the muddy ground after spring rain.2. Secondly, the names are merged into one another; eddieandbill(＝eddie and bill =Eddie and Bill) and bettyandisbel (betty and isbele=Elizabeth and lsabela). eddie and bill come running(=Eddie and Bill come running). eddie and bill are the names of two little boys which have several levels of meaning: (1)the decapitalization of the names demonstrates the boys are very little; (2) eddie and bill are merged into one word eddieandbill renders the cubic impression – the boys are running hand in hand. The effect here is to render the hustle, bustle, and speed of the children as they come running to the summons of the whistle.3. According to the context, the nonce-formation balloonman is the compounding of the words balloon and man which implies several meaning: 1) the man who sells balloons; 2) the man looks like a mixture of balloons and man because there are a lot of balloons in his hands and over his head; 3) balloonman is the symbol of spring. Balloons grant a profound impression of happiness and joy. Goatfooted/ balloonMan makes readers to associate it with Greek god Pan-Half-man, half-goat. Pan, God of music and play, is the symbol of spring. The capitalization of “Man” in balloonman emphasizes that the man selling balloons is Pan-God of spring.3.3 Lexical OverregularityThe repetition of words and phrases is another device to realize the foregrounding in this poem. The words “spring”, “whistle” ,“ballooman” and the phrase “far and wee” repeat three times respectively with the repetition of the word “come”, giving a vivid account of what is happening.这首诗描绘初春儿童欢乐嬉戏的情景，藉以引起成年人对儿时欢乐之回忆，同时也暗示成年人生活的世俗化，已无法感受和了解春的圣洁与童稚时之欢乐。

文体与文体学讲义第一章文体与文体学In this chapter, two major concerns will be presented, one is the definition, the origin, goal, and procedure of stylistics, another the definition of style, which is a heated discussion in academic areas.Part I Stylistics1 Definition of StylisticsStylistics in simple terms means the study of style.Widdowson (1975:3), “By stylistics, I mean the study of literary discourse from a linguistics orientation and I shall take the view that what distinguishes stylistics from literary criticism on the one hand and linguistics on the other hand is that it is essentially a means of linking the two.”Leech, holds a similar view. He defines stylistics as “the study of the use of language in literature”(1969:1), and considers stylistics a “meeting-ground of linguistics and literary study”(1969:2) From what Widdowson and Leech say, we can see that stylistics is an area of study which straddle two disciplines: literary criticism and linguistics.It takes literary discourse (text) as its object of study and uses linguistics as a means to that end. Now stylistics has developed into an interdisciplinary area of study with explicit aims and effective techniques, and promises to offer useful insights into literary criticism and the teaching of literature.English stylistics has developed on the basis of traditional rhetoric which may be traced back to Aristole’s time. Nevertheless, it was the ‘three revolutions’ in social science that brought it to the right track and brought it about its present status.One of the revolutions is the modernist movement in art and literature, lasting from 1890 to the beginning of World War II. To a great extent, the revolution was a break with tradition in the ways it influenced both the content and language of literature. From this movement onwards, creative writers exercise no restraints on the sort of language they use in their writing. In modernist literature, readers could find much to surprise them in respect to content as well as language.Another revolution is the one in literature criticism which has had a profound and radical influence on stylistics. In the 1930’s, the critical theorist, I.A. Richards, expressed his dissatisfaction with those critics of his age. In his opinion, they seemed to be too much preoccupied with literature’s role in educating the readers morally and emotionally. He called for a more objective approach to literary texts. in his famous book, Practical criticism, he established an approach to poetry which depend on close reading of the text. He was joined by scholars such as Willian Empson whose work Seven Types of Ambiguity had a wide influence and promoted the concept of ambiguity as a defining linguistic characteristic of poetry. Their insistence on close reading of the text and analysis of language of the text coincides with the starting point of stylistics, thus greatly facilitating its development.The third revolution took place in linguistic science starting in the late 1950. It was initiated by the work of Noam Chomsky and Michael Halliday whose thoughts were directly or indirectly influenced by the linguistic theory of F. de Sassure, the founder of modern linguistics. Chomsky’s transformational-generative grammar revealed a system of surface structure and deep structure in English syntax. It also brought about a new awareness of how the human mind is innately able to systematize reality by the use of language. Halliday’s systemic grammar has offered many insights into the methods of text analysis, particularly in respect of cohesion between sentences in discourse. The work done in the field of linguistics in the last three decades has provided the stylistician with effective and completely new tools for investigating language in use in both literature and other types of discourse. The above mentioned revolutions, in their own ways, have played a fundamental role in shaping stylistics into the important interdisciplinary field of academic study that it is today.1.2 The origin of stylistics and its research school文体学首先来自于古代的修辞学，来自于亚里斯多得的修辞论。

文体学偏离的角度分析《同情这个忙碌的怪兽，人类》作者：王欢来源：《北方文学》2017年第02期摘要：“偏离”是英语诗歌中的一个重要特征，体现了诗人对平常语言的巧妙性使用。

一首诗的魅力很大程度上取决于其语言“偏离”的数量。

本文借用文体学分析方法，从语言形式层面的偏离现象入手，对卡明斯的《同情这个忙碌的怪兽，人类》进行赏析，分析本诗在书写、词汇、句子和语义上的偏离特征及其产生的文体效果，旨在引领读者从语言“偏离”这一独特的视角来欣赏诗歌中蕴含的艺术美感和深刻的主题思想。

关键词：肯明斯；《同情这个忙碌的怪兽，人类》；偏离卡明斯（e.e.cummings，1894-1962）是美国现代先锋派诗人的代表之一。

他敢于突破传统诗歌形式的束缚，在诗歌的词汇、句法、语义、拼写等方面进行创新，形成了别具一格的卡明斯诗歌风格（傅铮2010）。

本文从文体学偏离角度对《同情这个忙碌的怪兽，人类》进行赏析，挖掘出肯明斯对现代社会中人类过度膨胀，依赖技术进步的讽刺，进而验证普通文体学方法对本诗歌语言的赏析和主题的揭示极具可行性。

本诗的部分如下：pity this busy monster， manunkind，not. Progress is a comfortable disease：……into a mountainrange； lenses extendunwish through curving wherewhen till unwishreturns on its unself.……，but never thisfine specimen of hypermagicalultraomnipotence. We doctors knowa hopeless case if --- listen： there's a hellof a good universe next door； let's go一、《同情这个忙碌的怪兽，人类》的偏离现象分析偏离是对常规的违反，指共核语言之外的那部分特殊语法。

eecummings诗歌
摘要：
1.概述e.e.cummings 的诗歌特点
2.e.e.cummings 的诗歌形式
3.e.e.cummings 的诗歌主题
4.e.e.cummings 的诗歌影响
正文：
e.e.cummings 是美国现代主义诗歌的代表人物之一，他的诗歌以独特的形式和主题影响了整个美国诗歌界。

e.e.cummings 的诗歌特点是其打破传统的诗歌形式，他的诗歌没有标题，很少有标点符号，且常常把单词拆开，形成一种独特的视觉效果。

他的诗歌语言简洁明了，但又充满了隐喻和象征，给读者留下了深刻的印象。

在诗歌形式上，e.e.cummings 的诗歌常常呈现出一种"碎片化"的形式，他的诗歌句子常常被拆开，形成一种独特的诗歌结构。

此外，他的诗歌还常常使用大量的排比和重复，增强了诗歌的节奏感和音乐性。

在诗歌主题上，e.e.cummings 的诗歌主题广泛，涵盖了爱情、自然、战争、生命等多个方面。

他的诗歌主题深刻，充满了哲理，常常引导读者进行深入的思考。

e.e.cummings 的诗歌影响深远，他的诗歌风格和主题对美国诗歌界产生了重要的影响。

他的诗歌风格被称为"现代主义"，他的诗歌作品被广泛地研究和阅读，对美国现代主义诗歌的发展产生了重要的影响。

总的来说，e.e.cummings 的诗歌以其独特的形式和主题，对美国诗歌界产生了深远的影响。

探析卡明斯诗歌“l（a”的线性艺术表现作者：白航凡来源：《世界家苑·学术》2018年第09期摘要：本文结合法国视觉美学家德卢西奥·梅耶的《视觉美学》的理论，分析卡明斯的诗歌“l（a”，探讨卡明斯如何将线性艺术与诗歌艺术完美二者结合，从视觉艺术的诗行排列、印刷排版、和线性排列等方面来分析诗的线性艺术表现效果。

关键词：卡明斯；l（a；线性表现；视觉艺术1.引言根据德卢西奥·梅耶的观点，线条能够表达思想情感。

人们可以利用尖锐的线条来引起兴奋、愤怒、危险或混乱的感觉，而相对扁平的线条可助于形成平静感。

粗线条可用于表示大胆的力量和直接性；柔和弯曲的曲线表示不紧不慢的乐趣。

在“l（a”中，卡明斯通过对每个单词的空间排列来演奏书法的技巧，使这些单词精心排列的位置来代表诗歌意义；他巧妙地将这些字母分解成声音和形状，通过对文字位置的处理使读者很容易找到换行符、节间隔、字间距、行距和字体。

本文通过对诗歌“l（a”的线性艺术表现的分析，体会本诗孤独的主题。

2.诗人卡明斯的介绍为了更好地分析和理解卡明斯的诗歌作品“l（a”，笔者首先介绍一下他的主要生平。

根据文献（Kennedy，1980；常耀信，2001；彭予，1995），卡明斯（E.E.Cummings）1894年出生，曾就读于哈佛大学。

大学期间，卡明斯对艺术新运动产生了浓厚的兴趣，开始尝试自由体诗和效仿庞德的意象主义诗法。

他同时也学习绘画，19世纪30年代初便成为小有名气的立体派画家。

作为一个诗人兼画家，他创造了独特的文学立体主义诗体。

3.线性艺术表现的介绍“线条”是书法艺术中的主要元素，包括线条、斜体、换行符、斜体线和题词。

在书法或诗歌中，它指的是“内部”结构，这是艺术家对线条的精神需求。

一首诗的形式排版是非常重要的，线条的排列能够传达或扩展情绪，单词所呈现的形式能够提高读者对文章思想感情的敏感度。

卡明斯在他的诗歌中创造性地采用排版的方法，让读者领悟作者内心的真实感受。

论E.E.卡明斯诗歌的语篇衔接特征于学勇(杭州电子科技大学外国语学院,浙江杭州 310018)摘 要:本文根据系统功能语言学理论,从英语诗歌语篇衔接的角度来分析和研究E.E.卡明斯的诗歌-anyone liv ed in a pretty how town .,探讨卡明斯诗歌的语篇衔接特征和构建新的英语诗歌语篇分析模式。

本研究的价值在于:对英语诗歌的语篇研究提供了新的途径)))从语篇衔接视角研究诗歌,帮助读者构建语篇思维习惯,深入领会诗歌的意义和美学价值。

关键词:卡明斯诗歌;语篇衔接;语篇分析模式Abstract:This paper,based on Systemic Functional Linguistics,analyzes and studies E.E.Cummings .poem -anyone lived in a pretty how town .from English text cohesi on perspective to discuss the characteristics of his text cohesion and construct new text cohesion pattern.T he value of it lies in finding a new perspective on text cohesi on of English poems )studying poems from text cohesi on perspective,helpi ng readers bui ld up text thinking habits to un ders tand the m eaning and aesthetic value of poems.Key Words:Cum mi ngs .poem;text cohesion;text analysis pattern中图分类号:I06 文献标识码:A 文章编号:1004-6038(2007)03-0019-051.引言E.E.卡明斯(1894~1962),美国诗人、立体派画家,美国现代实验派诗人的杰出代表。

eecummings诗歌
【原创实用版】
目录
1.概述：介绍 e.e.cummings 的诗歌特点和影响
2.诗歌风格：分析 e.e.cummings 的诗歌形式、语言和意象
3.主题：探讨 e.e.cummings 诗歌的核心主题
4.影响：讨论 e.e.cummings 对后世诗人和文学的影响
正文
e.e.cummings 是美国现代主义诗歌的代表人物之一，以其独特的诗歌风格和主题影响了整个文学界。

他的诗歌充满了实验性和创新性，打破了传统的诗歌形式和语言规则，开创了一种全新的诗歌表达方式。

e.e.cummings 的诗歌风格以形式独特、语言创新和意象丰富著称。

他打破了传统的诗歌形式，创造了一种无拘无束的诗歌结构，常常使用不规则的排版和词语摆放来表达诗歌的主题和情感。

他的语言使用也非常创新，常常使用非传统的语法和词汇，以及各种象征和隐喻，给读者带来了全新的阅读体验。

e.e.cummings 的诗歌主题也非常深邃和丰富，他的诗歌常常探讨爱情、生命、自由和个体意识等主题。

他的诗歌充满了对生命的热爱和对个体自由的追求，同时也表达了对现代社会的批判和对人类命运的思考。

e.e.cummings 对后世诗人和文学的影响也非常深远。

他的诗歌风格和主题对整个现代主义诗歌运动产生了重要的影响，许多后世诗人都受到了他的启发和影响，他们在自己的诗歌创作中也使用了 e.e.cummings 的诗歌技巧和主题。

同时，e.e.cummings 的诗歌也影响了文学批评和文学理论的发展，他的诗歌作品成为了文学研究的重要对象。

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Analysis on (E. ec) um! Mi, n, g-s' poem:r-p-o-p-h-e-s-s-a-g-rr-p-o-p-h-e-s-s-a-g-rr-p-o-p-h-e-s-s-a-g-rWhoa ) s w (e loo)kUpnowgath PPEGORHRASSeringint( o-aThe:) l laeA!p:satoaThe):leA!p:S a(rrIvInG gRrEaPsPhOstorea(be)rran(com)gi(e)ngly,grasshopper;A possible translation:A grasshopper who welook up now gatheringa GRASSHOPPER into leaps:arriving grasshopperrearranginglybecomea grasshopperIntroductionE. E. Cummings, born in 1894, was an American poet, painter, essayist, author, and playwright. His body of work encompasses approximately 2,900 poems, two autobiographical novels, four plays and several essays, as well as numerous drawings and paintings. He is remembered as a preeminent voice of 20th century poetry, as well as one of the most popular.He loved cubism and futurism in painting, while all the achievements he made in other areas can hardly be compared with what he did in poetry.In general, his poems can be classified into 3 categories: Blues Poetry, which just like the Blues music, utilizes lyric, rhythm and rhyme, and shares some similar themes such as lost love; concrete poetry, in which typographical arrangement of the words is important in conveying the effect and elements of the poem; futurist, which believes that the constraints of syntax were inappropriate to modern life and that it did not truly represent the mind of the poet. Syntax would serve as a filter in which analogies had to be processed and so analogies would lose their characteristic "stupefaction". In his poetry, meter was rejected and the word was the top concern. In this way, he was able to create a now language free of syntax punctuation and full of free expression.Attached to his free and creative way of relating, I would like to give a brief stylistic analysis of his famous poem: "r-p-o-p-h-e-s-s-a-g-r". The examination will deal with phonological, graphological, lexical, syntactical, and semantic analyses respectively.Graphological Features1)PunctuationE.E. Cummings had a constant love for punctuation, especially in a random way. Hyphens are used to link the randomly spelled letters，which creates an impression of coherence；brackets are used to limit the letters into a certain space, such as (e loo), in order to create an effect of closure which coperate with the phrase of "get into". Exclamatory marks are used tocreate an effect of bouncing, which characterizes the motions of the grasshopper. Colons are also used to attract readers' attention. The punctuation takes up an organic part of the Cummings's poems；however, it consists only an auxiliary part some other poems. It seems clear that from the perspective of modernism, every part of the poem can contribute to the wholeness of its poetic effect. Punctuations are endowed with a sense of freshness and novelty in cummings' poetry.2)CapitalizationCapitalization as well as decapitalization is a device frequently applied in Cumming's poetry. The basic function of these devices is to emphasis. Take his name for example, he usually spelled his name as e.e.cummings to illustrate his own self-identification that he was nothing more important or distinguished than others and in addition, he wanted himself to be modest.In this poem, there are two outstanding capitalizations which catch my eyes: PPEGORHRASS and gRrEaPsPhOs. These two achieve the effect of foregrounding. Seen from a distance, these two words can call readers' attention more easily and successfully. PPEGORHRASS, through proper arrangement, can form the word "grasshopper". The first grasshopper in this poem is decapitalized and is linked by hyphens so that create a picture of a grasshopper crawls or stays with no apparent motions, while by highlighting the word PPEGORHRASS, the picture suddenly become dynamic, and the grasshopper all of a sudden become active, which arouses the interest of the readers and adds vitality into the poem.Another example is gRrEaPsPhOs. As we can see, the second half of the poem takes the shape of a grasshopper( I will cover this point shortly afterwards.), and through the picture I gave above, this word gRrEaPsPhOs is exactly the abdomen of this insect. Judging from our common sense, we know what external form it is. And arrangement of the letters in this way can just depict the abdomen of an insect with stripes.Here, we can see that through the devices of capitalization and decapitalization, the poet can achieve a far-reaching denotative meaning as well as a picturesque effect.3)ParagraphingBy paragraphing, we mean the way in which a text is divided into paragraphs. And thispoem is divided into two halves. The first half is in words and in the second half, the shape of a grasshopper is composed. The result is that when we read this poem, we are welcomed by a short introduction and a grasshopper at the bottom of the poem. The way he divided this poem is quite creative and imaginative. It makes a breakthrough in the traditional form of poetry and set foot in combining poems with pictures, or composing pictures in letters. It challenges people's common understanding of poetry and provides a broader view of modernism.4)Graphic signsGraphic signs are frequently used in cummings' poems, for this part is an indispensable component in his expression of his thoughts. This poem is a visual poem. The shape of his poem can also convey certain meaning, for example, this poem is arranged in the shape of a grasshopper; another poem of his took the shape of a cat. The graphic sign indicates the theme of his poem and also becomes a trick to the readers' eyes and creates a different and imaginative way of composing as well as reading a poem.Another trick played by cummings is enjambment, in which the words jump from line to line randomly and wait for the reader to rearrange them. In this poem, this feature is quite obvious. This poem is said to create a figure of an erratic grasshopper and jumping is involved in its nature. Our eyes move from side to side to catch the trace of the grasshopper, otherwise, we run the risk of losing ourselves in the poem.In addition to enjambment, the poems leave much room for margins. The bouncing of the letters in the first paragraph creates large chunk of margin in the middle of the poem. Instead of calling for pausing or introspective as the margins in other literature works, this chunk of margin is not provided for the rest of the eyes but for exercises. By constantly moving the eye from side to side can he understands the poem and also gets a sense of the dynamic movement of the insect as if there were a grasshopper on the paper, before the eye. This is one of the major fun or power of e.e.cummings' poetry. He successfully combines visual effect with written forms.5)SpellingMisspelling is another device enjoys cumming's favor. In each line of his poem, one should not take its spelling into serious consideration, but to read it out loud as a whole and notin parentheses as one word. For example, r-p-o-p-h-e-s-s-a-g-r, only by understanding with proper insight can we catch the real form of the word and follow the poet's intention.Lexical features1）The use of specific wordsIn cumming's poems, subordinate words are used more regularly than the superordinate ones. In this poem, such as grasshopper, look up, leap and so on. Subordinate words are easier for people to understand and give people a more specific view of the content of the poem.2）The use of connotative wordsIn poems, especially in modern poems, we are encountered tons of symbols, which have connotative meaning as well as denotative meaning. Such words call for reader's pausing and retrospective. However, in cumming's poems, there are hardly any word with denotative meaning. , Grasshopper is simply the insect and leap is just the motion of this little insect. The words here do not carry a far-reaching symbolic meaning and thus, the poem is plain and direct enough for readers to understand.3）The use of dynamic wordsIn this poem, as it depicts the figure of a grasshopper, the poet uses dynamic words to recapture the erratic and jumpy manner of this insect, such as the verb "look up", "gather", "arrive", "become", all of which make the picture full of vitality. These words, together with the emjambment, make the picture quite vivid and it seems that the whole poem just jumps out the paper and becomes alive. These words are to cumming's poems what strokes is to his paintings.4）The use of monosyllabic wordsThe simple words characterize the poems of cumming's, ranging from in Just- to a like a . All his poems avoid the use of polysyllabic words. In this poem, simple words like leap, now, look up are applied. Short and simple, these words add the bouncing flavor to this poem rather than long words, which make the poem heavy and awkward.5）Non - formationThe word "rearrangingly" is a word newly created by cummings, like the case of "balloonMan" in in Just-. By forming a new word, the poet can successfully catch the eyes of readers. And this word lies at the bottom of the poem, which indicates that the key of understanding the poem is to "re-arrange" it. What is more, non-formation adds a sense of newness to the poem, attracting the readers and expressing the poet's idea in a creative way, thus, fulfills the characters of modernism.6)AccessibilityWe often use Fog Index to test the accessibility of an article or a passage, for accessibility is more often than not a problem for non-poem work. We take it for granted that poetry are always accessible. In this poem:Fog Index= 0.4 (L+H)=0.4*(9+0)=3.6Merely referring to this index, we can say that the poem should be quite accessible; however, the fact is far from the case. The reason lies in Ungrammaticality, which characterizes most of cummings' poetry. Ungrammaticality makes the poem innovative and creative, lexically and semantically, on one hand; on the other hand, it decreases the accessibility of the poem. By decreasing the accessibility of the poem, the poet wins the attention and curiosity of the readers, for poetry must be read whole-heartedly and creatively. Proper inaccessibility can help to achieve the poetic effect and artistic sophistication and increases the readers' aesthetic comprehension.Synthetic features1)Word orderHis poem is full of words inverted into the sentence. The words are arranged randomly so as to a sense of deliberate mass. Especially for this poem, the inverted words even letters help create an effect of bouncing and the disorder of the words help make the poem a visual poem.2)GrammaticalityActually, cummings's poems hardly follow any strict grammatical rules. The non-grammatical way of composing characterizes his poetry and erects cummings as one of themost eminent poets of the 20s century. This not only shows his distinguished way of creation, but also his very quality of innovation, which constantly challenges the convention. He strongly opposed the traditional way of writing poems. It is his poem that gives us a brand-new understanding of poetry. That is another way of realizing foregrounding or defamiliarization, thus drawing attention to how he says something rather than to what he says and giving unusual significance to the visual effects of the poetry.3)Sentence lengthAs I have mentioned above, cummings's poems are famous for its visual effect. Based on this foundation, his poems all share a similarity, namely, understandability. Let alone its newfangled form, as long as one get the letters or words right, it would not be difficult for people to understand it. In addition, the words in the poem are also comparatively short corresponding to the motions of the insects. There is no complex sentence or hard words in the poem which set no verbal obstacles. Thanks to the short sentences, his poems are creative and do not set artificial obstacles to the understanding and interpreting to his poem.Semantic features1）Figure of speechSemantic features in this poem mainly lie in the rhetorical devices. The most significant one is repetition. The word "grasshopper" occurs three times in this poem. The function of this is to lay emphasis on the title and the theme of this poem. In addition, repetition can achieve the effect of foregrounding. Seen from a distance, these words can arrive at the point of highlighting, visually and sensuously.If I could put it in this way, the image of "grasshopper" is a symbol of vitality. It symbolizes the liveliness of nature and human society. It jumps here and there in the huzzle and buzzle all across the world, to which it adds luster and laughter and passes on the livelihood and vigor to the readers, which also enlightens the intellectual world of the readers.2) contextual factorsWhen it comes to the contextual factors analysis, this poem is quite unique. It belongs to acertain field--literature; tenor as informal. Moreover, most of the poems are written to be read; yet this piece is written to be seen.Conclusione.e.cummings' poetry has always been an ideal material for stylistic analyses for his various uses of language tactics as well as stylistic devices. His poetry provides a broader view of combining visibility with literature and leads a fresh style of expression into modern literature. Reading his poetry is an experience nourishing our eyes as well as our minds and it turns out to be a precious lesson for treating our aesthetic comprehension and stylistic awareness. It is true that literature is like the sunlight which enables us to see the world.e.e.cummings enables me to see the picturesque world from a poetic view.References杨金才、于建华《英美诗歌：作品与评论》上海外语教育出版社 2008刘宓庆《文体与翻译》中国对外翻译出版公司 2003王华民《文体与修辞》吉林大学出版社2004王守元《文体学要略》山东大学出版2000。

［从前景化角度赏析诗歌inJust赏析角度爱德华・埃斯特林・卡明斯（Edward Estlin Cummings 1894-1962 ）是美国的一位现代诗人，小说家兼立体派画家，美国现代实验派诗人的杰出代表。

他将自己的名字小写为e. e. cummings，以显示自己是一个小人物以及自我的渺小。

卡明斯既继承了传统诗歌的表达理念，又向传统挑战，在诗歌上大胆尝试，打破了传统中那些陈腐和平庸的清规戒律和表达模式，充分表现自己的独特风格（何树2005）他打破了传统诗歌中有关诗行、诗节、韵律、用词等规则，取消了几乎所有的大写字母，把标点符号随意处置或干脆摒弃不用，经常制造词汇，不顾传统语法句法，任意拆散单词或句子。

他在自己的诗中使用小写，在需要强调对比或加重音调时，才使用大写。

他珍视活力，歌咏个性，反对'集体”。

在诗歌主题上，他描绘的是传统和日常生活中司空见惯的主题和事物，诸如爰情、孤独、自然界等，他将对世界、对童稚天真世界的热爰都表现得淋漓尽致。

二、诗歌in Just-及其简介诗歌in Just-是卡明斯的第一部诗集《郁金香和烟囱》中的一首抒情诗，最初发表于1920年，表现的是春天到来之际大地复苏，一群孩子正在快活地玩耍，看到前面来了一位跛足的卖气球者，更使他们感到无比欢欣，大自然的景色和人类的欢愉交相映衬。

诗中大量运用跨行的手法暗示出自然界的勃勃生机与运动，逐渐消隐下去的结尾又给人以回味无穷、余音袅袅之感。

这首诗打破了英诗的创造传统，布局离奇古怪，诗行参差不齐，语法和用词也是别出心裁（常耀信2003）。

全诗如下：in Justin Just-springwhen the world is mud-luscious the littlelame balloonmanwhistles far and weeand eddieandbill comerunning from marbles andpiracies and it’ sspringwhen the world is puddle-wonderfulthe queerold balloonman whistlesfar andweeand bettyandisbel come dancingfrom hop-scotch and jump-rope andit’ sspringandthegoat-footedballoonMan whistlesfarandwee ( e. e. cummings 5 )三、从文体学理论的前景化角度赏析诗歌in Just-1、前景化与语言变异“前景化”一词原用于绘画，意为让需要突出刻画的人或物处于画面突出的位置即前景，其他的人或物则构成背景。