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Morphological Deviation as a Stylistic Marker in E.E. Cumming's Poetry

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Sami Basheer Matrood Morphological Deviation as a Stylistic Marker in E.E. Cumming's Poetry

Morphological Deviation as a Stylistic Marker

in E.E. Cumming's Poetry
Set by
Sami Basheer Matrood
Assistant Lecturer
University of Al-Qadisiyah
College of Education
Abstract
E.E. Cummings's poetry represents an irresistible challenge for linguists who are
interested in describing and analysing the aesthetic use of language. He is one of the poets
who are often sensitive to the productive properties of morphemes, in other words, he
utilizes creativity by producing new words for saturating their aims.
(Falk, 1978: 35)
Deviant morphology is not merely a minor element of his poetic technique. On the
contrary, almost every one of his poems contains marks of such a technique. Readers'
understanding of Cummings's art would be greatly enhanced if those readers could
understand the machinery behind this deviant technique.
The words that Cummings deviantly coins are central vehicles of his poetic message.
The present paper is intended to manifest a precise theoretical account of the process
involved when a reader encounters a word formed by the deviant use of a morphological
process. It may help the reader to use his grammatical competence to arrive at an
acceptable reading of the deviant form. Moreover, it sheds light on a range of
morphological processes which Cummings violates. Each section illustrates the theory of
deviation in specifying the distribution and use of the relevant form in the standard usage,
the distribution and use of the forms in Cummings's poetry and the semantic effect of the
deviant forms in Cummings's poetic message.
Cummings's deviant forms are provided in their poetic contexts in order to substantiate the
paper with authentic evidence and familiarize the reader with the mechanism of
morphological deviation in Cummings's poetry. References are supplied to page numbers in
Harcourt, Brace and Jovanvich's Comlpete Poems: 1913-1963 for each word discussed, for
instance, unanimal (620) of this edition of Cummings's poems.

0. Introduction marks of such a technique. Readers'

E.E. Cummings's poetry presents an understanding of Cummings's art would be
irresistible challenge for linguists who are greatly enhanced if those readers could
interested in describing and analysing the understand the machinery behind this
aesthetic use of language. Deviant deviant technique.
morphology is not merely or major element The words that Cummings deviantly
of his poetic technique. On the contrary, coins are central vehicles of his poetic
almost every one of his poems contains message. The present paper is intended to

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Basim Neshmy Jeloud Reading Literature A Dialectic of Schemata

manifest a precise theoretical account of the picture (Aitchion, 1999: 20). To Crystal
process involved when a reader encounters a (1985: 30), language is the poet's repertoire
word formed by the deviant use of a from which he can create his own world.
morphological process. It may help the Such a powerful and complex use of
reader to use his grammatical competence to language represents the base of the literary
arrive at an acceptable reading of the effect of language; that is why it is highly
deviant form. Moreover, it sheds light on a difficult to define the meaning of a literary
range of morphological processes which work. The language of a literary work
Cummings violates. Each section illustrates represents the medium of its message; the
the theory of deviation in specifying the meaning of any text is encoded (embodied)
distribution and use of the relevant form in in its linguistic form. To be specific, it is the
the standard usage, the distribution and use only means the poet has for communicating
of the forms in Cummings's poetry and the his ideas or feelings; it is the most reliable
semantic effect of the deviant forms in means for understanding the poet's
Cummings's poetic message. intention (Ibid).
Cummings's deviant forms are Eliot considers language an important
provided in their poetic contexts in order to tool for expressing and digesting a poet's
substantiate the paper with authentic objects, new group of objects, feelings and
evidence and familiarize the reader with the aspects. Being aware of the complexity of his
mechanism of morphological deviation in period, the modern poet employs or uses
Cummings's poetry. References are supplied language in a way that serves and reflects
to page numbers in Harcourt, Brace and the vague, complex and ambivalent
Jovanvich's Comlpete Poems: 1913-1963 for emotional experience he undergoes (Walter
each word discussed, for instance, unanimal et al., 1974: 223).
(620) of this edition of Cummings's poems. To illustrate, Eliot thinks that the
language of modern poetry fuses two
1.2. The Language of Modern elements; feeling and thought. "Modern
Poetry poets", states Walter, "will be condemned if
they do not feel their thoughts as
After 1914 there was about as much
immediately as the ordour of the rose". To
variety in the kinds of language used as
express complex meanings, some modern
there was in the kinds of rhythms. The
poets often depart from the simple accepted
works of a number of earlier writers,
norms of the social talk. Their choice of
including Walt Whitman, the prose of Oscar
language, together with the variety of
Wild, Robert Browning's subversion of the
rhythms they employ and tone of "serious
poetic self and Emily Dickinson, represent
humour" they frequently adopt, express the
the roots of the modern poetic English
ideas and feelings poets have about the
language (Walter et al., 1974: 223).
modern world (Ibid).
Linguistically speaking, language can
be used to persuade, influence and
As a result, the language of modern
communicate ideas, feelings and emotions
poetry tends to be complex, and deviant.
though it is sometimes used for purely
Ambiguity is considered a merit rather than
aesthetic reasons. In writing poetry, for
a demerit because the modernists believe
example, poets may manipulate words in the
that the language of "good" poetry should
same way an artist models clay or paints a

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Basim Neshmy Jeloud Reading Literature A Dialectic of Schemata

be removed from everyday usage. The nevertheless, it does serve as the basis for
common deviant complex form of modern producing new words which were neither
poetry is not merely ornamental, on the produced nor encountered in the past, as it
contrary it is a functional complexity which is represented in the following poetic lines:
reflects the ambivalent, vague experience
undergone by the modern poet (Cook, 2003: helves surling out of eakspeasies per(red)
62). hapsingly
progress he and she-ingly people
1.3. E.E. Cummings as a Modern Poet trickle curselaugh groping shrieks bubble.
(Falk, 1978: 35)
Edward Estlin Cummings, the son of a 1.4. Cummings' Deviant Morphology
minister, was born, and educated in
Cambridge, Massachusetts; in 1915 and To express feelings, Cummings
1916, he received his B.A. and M.A. from deliberately distracts syntax and alters parts
Harvard. After studying art for some time of speech making verbs function as nouns
in Paris, he began to experiment with new and vice versa (Ellman and O'Clair, 1988:
techniques of writing such as 547). His poems are set up in a way that
unconventional typographical inhibits words from reflecting the normal
arrangements, oddities of spelling and the tendency and helps instead to achieve what
abolition of capital letters (Walter et al., is called self-transcendence; or self-
1974: 294). realization despising all that might prevent
To refine his technique, Cummings it. He forms his poems in a way that reflects
tries to rescue language from the discursive, the lyrical impulse of the modern world.
analytic abstractness that threatens to They are set up to make the reader envisage
deaden it (Pearce, 1961: 363). He is one of a man who may avoid being victimized and
the poets who are often sensitive to the manipulated or depersonalized (Pearce,
productive properties of morphemes, in 1961: 358) and (Ellman and O'Clair, 1988:
other words, those who show creativity by 547).
producing new words for saturating their Linguistically speaking, morphology is
aims (Falk, 1978: 35). the scientific scrutinity of the internal
Reading Cumming's work, one feels structure of the smallest grammatical units;
the novelty of a technique through which morphemes. To Crystal (2003: 134), any sort
Cummings does not so much aim at giving of violence to the English morphemes; i.e.,
life to words but to their grammatical- "ill-formed morphemes", is referred to as a
syntactic context. He attempts at wrenching deviant morphological construction. Such a
words out of their common regular sort of "ill-formed morphemes" represents
grammatical and syntactical functions so as a major element of Cummings's poetic
not to give life to the substance, (meaning) of technique and a central vehicle of his poetic
a sentence but to its structure (Pearce, 1961: message. Understanding Cummings's use of
364). deviant morphology helps one to understand
Cummings exploits creativity as a and appreciate his highly individual art in
characteristic of human language in a highly order to grasp his meaning in a better way.
dramatic way. The nonpoets' creativity is To define the idea of morphological
not usually regarded artistic, but, deviation precisely, one should understand

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Basim Neshmy Jeloud Reading Literature A Dialectic of Schemata

what the standard English morphology is. restrictions and output category
English derivational morphology includes restrictictions (Falk, 1978: 41).
four semantic and grammatical components 1.4.1. The Deviant Use of the
which are: Negative Prefix Un-
1. Derivational affixes in standard usage The negative prefix (un-) is one of the
normally carry a meaning of their own. largest groups of morphemes that
Derivational meanings are much more Cummings coins. Grammatically speaking,
diverser than inflectional categories un- combines with adjectives and their
which do not have a clearly identifiable related nouns and adverbs to form new
meaning, but only a syntactic function adjective, nouns and adverbs. The un- prefix
(Haspelmath, 2002: 61-68). is used as a negative prefix that means "the
2. Stems and affixes opposite of", e.g., unhappy, unofficial, etc.,
Morphemes can be classified into free or "not" as a privative prefix before nouns,
and bound morphemes. The former refers e.g., unleash, unhorse, etc., and as a
to that kind of morphemes which can stand reversitive prefix before verbs; i.e. un-
alone having certain meaning while the combines with verbs to form new verbs.
latter refers to those which can not stand on Verbs that are formed in this way express
their own as lexemes. Usually the stem is a the idea of reversing the process or state of
free morpheme as in the case of likely where the original verb, e.g. do/undo or
like is the stem of the word and a free cover/uncover, etc. (Quirk et al., 1985:
morpheme. However, the matter is not 1540). Before nominal bases, un- alters the
always easy. For instance, in the word noun into a verb. In other cases, category
possible the ible seems to be attached to the membership is not affected (Kuiper and
stem poss, that is itself bound (Kuiper and Allan, 1996: 138).
Allan, 1996: 150-51). Cummings's deviant use of the un-
prefix can be obviously seen in the following
3. Strict semantic and grammatical rules poetic contexts:
hold between the affix and the base in
almost all cases. Some affixes only attach unlove (765)
to verbs, such as 'en' or 'ize'. Others only unlove's the heavenless hell and
attach to nouns, for example 'ance' or homeless home
'sion' and so forth. of knowledgeable shadows (quick to
seize
4. Finally, the combination of an affix and each nothing which all soulless wraiths
bases usually produces a word in only proclaim
one lexical category. Sometimes the affix substance; all heartless spectries,
preserves the lexical category of the base, happiness)
for instance, both 'able' and unable are
adjectives. Sometimes it does not, as in unwish (554)
enable that is a verb due to the addition pity this busy monster, manunkind,
of 'en'. In interpreting a deviant form, not progress is a comfortable disease:
then, a reader must manipulate four your victim (death and life safely beyond)
variables that are: affix-meaning, base- plays with the bigness of his littleness …
meaning, affix-base, selectional

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Basim Neshmy Jeloud Reading Literature A Dialectic of Schemata

Unearth (541) mundane aspects of existence (Mclntyre,

leaf of ghosts some 2005: 2-6).
few creep there
here or on 1.4.2. The Deviant Use of the
unearth Adverbs of Manner "-ingly"
Another substantial group of word that
With nominal bases, Cummings uses
Cummings coins is "-ingly" adverbs formed
un- as a negative prefix to form nouns (i.e.
from a verbal stem, the present participle
unlove, unwish and unearth). Such words
suffix –ing and the –ly adverbial suffix. It is
are deviant because un- only combines with
possible for the sharp-eyed reader to notice
nouns to produce "privative" verbs in
that such adverbs function as manner
standard usage. Here, Cummings uses the
adverbials "manner process adjuncts"
adjective base meaning of un-, "not," and
(Kuiper and Allan, 1996: 141). These
the verbal -/adjectival- base category
adverbs can be paraphrased "in a way"
restriction to fill in the gap in English that
where the adjective base of the –ly adverbs
there are no nouns with un-.
fills in the blanks. A main controlling rule in
the conversion of the participial adjectives
As far as the poetic effect is concerned,
to form manner adverbs appears to be the
Cummings's use of the prefix un- with
gradability of the adjectives involved.
nominal bases represents his major thematic
Interestingly, only a very few adjectives in
device. In his poetry, Cummings glorifies the
English are non-gradable. A few stative
spiritual, the unique, the illimitable, the
adjectives; a- adjectives like asleep, afloat,
fragile, the timeless, the beautiful and the
etc., certain technical adjectives such as,
supra-physical over the merely physical,
atomic, hydrochloric, etc. and adjectives of
materialistic, mundane, scientific, prosaic
provenance, e.g. British, American, etc. are
and political. To him, it is only the former
non-gradable (for further information, see
entities that form the true life or world. The
Quirk et al., 1985: 434-35).
latter are simple and represent "unlife" or
The outstanding fact about the "-ingly
"unworld" (Mclntyre, 2005: 7).
adverbs" that Cummings coins is that they
Moreover, Cummings uses English
are almost all derived from non-gradable
morphology to say "where the normal
participal adjectives or those which are only
person sees something (i.e. the world, life,
marginally so. The following poetic lines by
man, etc.), I [Cummings] see two distinct
Cummings:
realms (i.e. the world and the umworld, life
and unlife, man and unman)". Making un- a
livingly (658)
noun- producing, negative prefix, Cummins
here
fragments normal reference, increases the
a livingly free mysterious
number of nominal distinctions available to
dreamsoul floatstands
the grammar of English and, as a result,
oak by birth by maple
redefines his concept of what a true world
pine …
should be. He uses English morphology to
perform the age-old poetic task of
Kissingly (161)
separating the poetically valuable elements
Seeing how the limp huddling string
of reality from those that reflect the
of your smile over his body squirms

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Basim Neshmy Jeloud Reading Literature A Dialectic of Schemata

Kissingly, i will bring you every spring mind" but –y does with "non-state-of-mind
handfuls of little normal worms. bases" (Ibid). Consequently, the reader may
observe Cummings's poetic use of such
In English, there is a prductive process suffixes in:
whereby verbs may be converted to –ly
manner adverbs by way of their present Childfully (402)
participles but such a process is not who before dying demands not rebirth
applicable upon such verbs; 'kiss' and 'live'. of such than hungrily more swiftness as
with (feel) pauseless immeasurable
Literally speaking, Cummings resorts Now
to such a technique as a major vehicle of cancels the childfully diminishing earth
poetic metaphor. Each time he coins an -never whose proudly life swallowed is
adverb from a non- gradable base, he forces by…
the reader to grade the adjective involved.
To clarify, the reader must create a world and in his prose context:
just like that of the poet, see 1.4.1, in which Rainlife whispers mistfully. (755)
phrases such as "the very kneeling dusk" Darkness eats a distance birdfully.
are possible. He must extend, fragment and (350)
differentiate the base concept until he can Phantoms fountain brightshaowfully.
produce a concept of sufficient complexity (681)
that is gradable. (Mclntyre, 2005: 7) The earth diminishes childfully (402)

1.4.3. The Deviant Use of –fully To illustrate, Cummings uses the –ful
Adverbs suffix with "non-state-of-mind" adjectives
and then he converts these forms to adverbs
Cummings's third group of words to
via –ly. Clearly, Cummings's words are
coin is -fully adverbs. Such adverbs are
unacceptable in normal usage because they
formed from a nominal, e.g., carefully or
violate "the state-of-mind- selectional
verbal, e.g., forgetfully, base, the productive
restriction" between –ful and the nominal
adjectival suffix –ful and the adverbial
base (See Quirk et al., 1985: 247-48).
suffix –ly.
Grammatically speaking, English has
Since the –ful suffix demands that its
two complementary suffixes that are: -y and
nominal base be a "state-of-mind" concept,
–ful which convert verbal and nominal bases
when Cummings coins such words as
to adjectives with the meaning "having x"
mistfully he forces the reader to animate
or an analysis that depends upon the idea of
and personify the base noun, i.e., conceive a
gradibility that is extremely unstable.
world where mist is state-of-mind (see 1.4.1).
Gradability is often dependent on semantic
The use of words such as mistfully reveals
complexity which in turn often depends on
Cummings's fondness of the morphological
familiarity and frequency of use (Qurik et
deviation. In the everyday world, rainlife,
al., 1985: 435-58)
darkness, phantoms and the earth are all
In addition, the semantic
subjects of sentences which do not have
generalization behind the distribution of
states of mind. However, in Cummings's
such suffixes appears to be that –ful
poetic world, these subjects become
operates with bases which indicate "state-of-

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Basim Neshmy Jeloud Reading Literature A Dialectic of Schemata

animated and personified. Inanimate [A yellow], e.g., a yellow tulip, [V yellow],

subjects perform animate and even human e.g., the paper yellowed gradually.
actions, e.g. "darkness eats a distance", and Reading Cummings's poetry, one can
so forth. Cummings uses English see different rules of conversion. He
morphology to increase the number of converts verbs to nouns and then inflects for
possible conceptual distinctions available to the plural with –s as in:
the language. On the other hand, he uses
grammar to perform an aesthetic task and cants (536)
such a use of language is applicable to so far your nearness reaches
Eliot's belief that language is an important a lucky fifth of you
tool to the poet for expressing and creating turns people into eachs
new objects, see 1.2, (Walter et al., 1974: and cowards into grow
223). our can'ts were born to happen
our mosts have died in more
1.4.4. Cummings's Conversion of
Verbs English allows verbal base to be
converted freely to nouns or vice versa.
Converting verbs into nouns represents
However, the purely verbal functions of the
another group of words that Cummings
verb cannot convert. That is, words like a
coins. Grammatically speaking, conversion
walk exists but not a walked (tense), a walk
is very common in English but it is rather
(person), or a has walked (aspect). In other
difficult to deal with since nothing happens
words, the lexical meaning of the verb can
to the lexeme's form in such a word
be nominalized but not the associate verbal
formation process. One can notice [N drink],
functions (Quirk et al., 1985: 1559-560).
e.g. Give me a drink, [V drink], e.g. she
Building verbal functions directly into
drank the water, the noun drink and the
nominal conversions, Cummings is able to
verb drink have the same form but differ in
create nouns that are far more dynamic
their syntactic category and consequently
than those acceptable in normal usage. Such
also in their meaning. Being different in
dynamic nouns reflect Cummings's concern
both, their syntactic category and meaning,
for the verbal aspects of things. Moreover,
such a pair is of similar lexemes, and the
he creates nouns which immediately reflect
process that connects them is referred to as
their individuality through building or
conversion (Kuiper and Allan, 1996: 150).
conversing grammatical persons into nouns
Moreover, conversion is different from
(Mclntyre, 2005: 22). To Ellman and
derivational affixation where the latter has a
O'Clair (1988: 547), Cummings conveys his
guide through which one can know the new
feelings through his deliberate distribution
lexeme is derived from the base lexeme by
of syntax and alterning parts of speech
the addition of an affix which the former
making verbs to function as nouns and so
lacks (Quirk et al., 1985: 1558). To Kuiper
on.
and Allan (1996: 150), most nouns can be
converted to verbs, e.g., supermarket might
become a verb saying 'we are going to be 1.4.5. Cummings's Conversion of
supermarketting until 11 o'clock. Function Words
Conversion may happen with adjectives, as Another group of nouns that
Cummings coins is conversions of various

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Basim Neshmy Jeloud Reading Literature A Dialectic of Schemata

function words, e.g. interrogative adverbs, Whens (577)

demonstratives, subordinate conjunctions, darling
indefinite pronouns and negative particles. sweet this creative never
Each of such nouns is either inflected for the known
plural with –s or contains the abstract complexity was born before the moon
nominal suffix –ness. As with the verb- before God wished Himself into a rose
conversion in (1.4.4), Cummings exploits and even …
these words as if they were true nouns.
In English, function words such as hows (175)
"ifs", "buts", and "maybes" occur in a scrap i like your body. I like what it
of dialogue depending on what is termed i like its hows. i like to feel
'type-token'. In other words, the normal way of your body and its bones, a firm-
of doing this is through proceeding smooth ness and which i will
sequentially from the given to that which is again and again and again
new or unknown to achieve what is called
'thematic connection' (Quirk et al., 1985: Cumming's manipulates such
1430). Mclntyre (2005: 22) illustrates such a nominalized function words as major
type-token conversion in the following vehicles. The unworld is a "How-town"
situation: where people are consumed with ifs, whens,
imagine that someone says: wheres. That is to say the people of this
I can't swim. unworld are fond of the "how" of conveying
I can't walk. such a sort of idea with these conversions
I can't play ball. following from the grammatical process
I can't do anything. involved in token conversions. Since token
conversions refer primarily to speech acts
One could reply saying, "Stop giving (tokens) and only secondarily to entities
me all those cant's and try!" However, it is (concepts) (Falk, 1978: 264), Cummings can
impossible to accept such a use of the word bring his poetry closer to the actions (speech
'can'ts' unless having the discourse acts) of the people he is describing. He can
precedent; proceeding from the known as a use the nominalization of these general
point of departure towards the unknown sentential operators to characterize people
(Quirk e al., 1985: 1430). according to their dominant speech
As far as Cummings's conversion of patterns.
function words is concerned, he disregards
discourse precedents and uses token 1.4.6. Cummings's Conversions of
conversions without perceptible restrictions, Quantifier
for instance,
Finally, quantifiers are another group
of words Cummings convert into nouns and
Whys (716)
then inflects for the plural with "s" or "–
dancing to feel
ness". In normal usage, token conversions
nots are their ways
with quantifiers are much less frequent than
stones become eyes
with that set of function words discussed in
(1.4.5). However, the words all, both, half,
and
most, etc. are quantifiers that do not occur

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Basim Neshmy Jeloud Reading Literature A Dialectic of Schemata

with the 'quantitative' determiners like society, the unworld. Such people do not
every, (n)either, each, some, any, etc. Both deserve a name more specific than a
may be used with plural nouns and has dual quantifier or indefinite pronoun. They are
number, e.g. all (the) day(s), all (the) merely unpeople who live "unlives" in the
furniture. In addition, all may be used as "people shaped too many-ness". On the
independent pronouns such as, other hand, sometimes people become
"eachs" and experience "alls", i.e., they
All/both/half passed their exams. realize a spiritual transcendental experience
(Quirk et al., 1985: 258) (see 1.4).
To express his view on the value of
As with other nominal conversions, individuality in human existence, Cummings
Cummings uses these quantifiers as pure uses such nominal set operators. Quantifiers
nouns with no perceptible restriction of provide pure symbols of uniqueness (each)
quantifiers: and completeness (all) as opposed to
anonymity (most) and indecisiveness
mosts (537) (both/neither).
our can'ts were born to happen
our mosts have died in more 2. Conclusion
our twentieth will open This study investigates the use of
wide a wide open door … deviant morphology in Cummings's poetry
and to create novel poetic effects. Cummings
eachs (537) uses the morphological processes of English
so far your nearness reaches to perform a wide range of poetic tasks. He
a lucky fifth of you creates an entire universe of entities that
turns people into eachs realize their potential more than the use.
and cowards into grow Those who merely exist (the unworld)
boths (569), neither (569) through breaking the constraints on the
… category membership of the bases of un-
toomany-ness (528) +nominal forms. Violating the constraints
a people shaped toomany-ness far too on the gradability of the participial bases of
and will it tell us who we are and will –ingly adverbs and the complexity of the
it tell us why we dream and will it tell bases of ly adjectives, he creates a poetic
us how we drink crawl eat walk die fly semantics of metaphorically graded verbs
do? and semantically complex nouns. Moreover,
A notalive undead too-nearishness. he personifies and mentalizes his poetic
universe through breaking the "state of
Being virtually prohibited except in mind" constraints of adjective bases of –
pure token references, the forms alls, fully adverbs. Converting finite verbs to
manys, eachs, mosts, etc. are all considered nouns, he separates a world of truly active,
deviant uses of quantifiers in the standard positive, self-conscious entities from a world
English. of non-finite, de-personalized and negative
For Cummings, these nominal entities.
quantifiers represent major thematic Presenting a coherent and revealing
vehicle, e.g., mosts are the people of mass analysis of the deviant use of morphology in

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Basim Neshmy Jeloud Reading Literature A Dialectic of Schemata

poetry depends on a detailed account of the Comprehensive Grammar of the

morphological process in standard usage. In English language. London:
other words, before one can understand how Longman.
a poet manipulates the grammatical Walter, B.; Hornberger, T.; Miller, J.; and
competence for poetic effects, one must Stewart, R. (1974) American
know what that competence is. Cummings Literature. New York: Scott,
exploits the English morphological processes Foresman and Company.
in a highly systematic manner to perform
:‫ﺍﳋﻼﺻﺔ‬
traditional poetic tasks of metaphor,
personification, poetic reference, aesthetic ‫ ﻻ ﻴﻘﺎﻭﻡ ﻟﻌﻠﻤﺎﺀ ﺍﻟﻠﻐـﺔ‬‫ ﺘﺤﺩ‬Cummings ‫ﻴﻘﺩﻡ ﺸﻌﺭ‬
perception, semantic compression and
‫ ﻴﻤﺜـل‬.‫ﺍﻟﻤﻬﺘﻤﻴﻥ ﺒﻭﺼﻑ ﻭﺘﺤﻠﻴل ﺍﺴﺘﺨﺩﺍﻡ ﺍﻟﻠﻐﺔ ﺍﻟﺠﻤـﺎﻟﻲ‬
universal statement.
‫ﺍﻻﻨﺤﺭﺍﻑ ﻓﻲ ﺘﺭﻜﻴﺏ ﺍﻟﻜﻠﻤـﺔ ﻋﻨـﺼﺭ ﺃﺴﺎﺴـﻲ ﻷﺴـﻠﻭﺒﻪ‬
Bibliography ‫ﺍﻟﺸﻌﺭﻱ ﻻﺤﺘﻭﺍﺀ ﻜل ﻗﺼﻴﺩﺓ ﻤﻥ ﻗﺼﺎﺌﺩﻩ ﻋﻠﻰ ﻋﻼﻤﺎﺕ ﻟﻤﺜل‬
Aitchison, J. (1999) Linguistics. London: ‫ ﺍﻥ ﻓﻬﻡ ﺍﻟﻐﺭﺽ ﻤـﻥ ﺍﺴـﺘﺨﺩﺍﻡ ﻤﺜـل ﻫـﺫﺍ‬.‫ﻫﺫﺍ ﺍﻷﺴﻠﻭﺏ‬
Hodder and Stoughton.
Cook, G. (2003). Applied Linguistics. New ‫ـﺎﺭﺉ ﻟﻔــﻥ‬
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‫ـﺴﺎﻋﺩ ﻋﻠــﻰ ﺘﻁـ‬
‫ـﻠﻭﺏ ﻴـ‬
‫ﺍﻷﺴـ‬
York, Oxford University Press. .‫ ﺒﺸﻜل ﻜﺒﻴﺭ‬Cummings
Cummings, E.E. (1972) Complete Poems
1913-1962. New York: Harcourt, ‫ ﺘﻤﺜل ﻋﻭﺍﻤل‬Cummings ‫ﺍﻥ ﺍﻟﻜﻠﻤﺎﺕ ﺍﻟﺘﻲ ﻴﺨﻠﻘﻬﺎ‬
Brace and Jovanovich. ‫ ﺇﺫ ﻴﻌﺭﺽ ﺍﻟﺒﺤﺙ ﺘﻔﺴﻴﺭﺍﹰ ﻨﻅﺭﻴﺎﹰ‬.‫ﺃﺴﺎﺴﻴﺔ ﻟﻔﻬﻡ ﺍﻟﻤﻌﻨﻰ ﺍﻟﻤﺭﺍﺩ‬
Ellmann, R. and O'Clair, R., ed. (1988) The
‫ﻤﺨﺘﺼﺭﺍﹰ ﻟﻤﺎ ﻴﻭﺍﺠﻪ ﺍﻟﻘﺎﺭﺉ ﻤﻥ ﺘﺭﺍﻜﻴﺏ ﻤﺘﺨﺎﻟﻔـﺔ ﻟﻘﻭﺍﻋـﺩ‬
Norton Anthology of Modern
Poetry. New York: Norton and ‫ ﻭﻗـﺩ ﻴـﺴﺎﻋﺩ ﺍﻟﺒﺤـﺙ‬.‫ﺘﺭﻜﻴﺏ ﺍﻟﻜﻠﻤﺔ ﻓﻲ ﺍﻟﻠﻐﺔ ﺍﻹﻨﻜﻠﻴﺯﻴﺔ‬
Company. Inc.
‫ﺍﻟﻘﺎﺭﺉ ﻋﻠﻰ ﺍﺴﺘﺨﺩﺍﻡ ﻤﻘﺩﺭﺘﻪ ﺍﻟﻨﺤﻭﻴﺔ ﻟﻠﻭﺼﻭل ﺇﻟﻰ ﻗـﺭﺍﺀﺓ‬
Falk, J. S. (1978) linguistics and Language.
New York: John Wiley and Sons, ‫ ﺍﻥ‬،‫ ﻋﻼﻭﺓ ﻋﻠﻰ ﺫﻟـﻙ‬.‫ﻤﻘﺒﻭﻟﺔ ﻟﻤﺜل ﺘﻠﻙ ﺍﻟﺘﺭﺍﻜﻴﺏ ﺍﻟﻤﺨﺎﻟﻔﺔ‬
Inc. ‫ﺍﻟﺒﺤﺙ ﻴﺴﻠﻁ ﺍﻟﻀﻭﺀ ﻋﻠﻰ ﺴﻠﺴﻠﺔ ﻤﻥ ﺍﻟﻤﺨﺎﻟﻔﺎﺕ ﺍﻟﺘﺭﻜﻴﺒﻴـﺔ‬
Haspelmath, M. (2002) Understanding
Morphology. New York: Oxford ‫ ﺤﻴﺙ ﺍﻥ ﻜل ﺠـﺯﺀ‬.Cummings ‫ﻟﻠﻜﻠﻤﺎﺕ ﺍﻟﺘﻲ ﻴﺴﺘﺨﺩﻤﻬﺎ‬
University Press Inc. ‫ﻓﻲ ﺍﻟﺒﺤﺙ ﻴﻭﻀﻊ ﻨﻅﺭﻴﺔ ﺍﻻﻨﺤﺭﺍﻑ ﺍﻟﺘﺭﻜﻴﺒﻲ ﻤﺤﺩﺩﺍﹰ ﺍﻟﺘﻭﺯﻴﻊ‬
Kuiper, K. and Allan, W.S. (1996) An
Introduction to English Language. ‫ﻭﺍﻻﺴﺘﺨﺩﺍﻡ ﻟﺘﻠﻙ ﺍﻟﻜﻠﻤﺎﺕ ﻓﻲ ﺍﻟﻠﻐـﺔ ﺍﻹﻨﻜﻠﻴﺯﻴـﺔ ﺍﻟﻔـﺼﺤﻰ‬
London: The Bathe Press, Bath. ‫ﻤﻘﺎﺭﻨﺔﹰ ﻤﻊ ﺍﻻﺴﺘﺨﺩﺍﻡ ﺍﻟﺸﻌﺭﻱ ﺍﻟﻤﺨـﺎﻟﻑ ﻟﺘﻠـﻙ ﺍﻟﺘﺭﺍﻜﻴـﺏ‬
Mclntyre, D. (2005) An Example of a
Stylistic Analysis. Internet: .Cummings ‫ﻭﺍﻟﺘﺄﺜﻴﺭ ﺍﻟﻤﻌﻨﻭﻱ ﻟﻤﺜل ﺘﻠﻙ ﺍﻟﺘﺭﺍﻜﻴﺏ ﺒﺸﻌﺭ‬
‫ﻭﻟﺘﻭﻀﻴﺢ ﺘﻠﻙ ﺍﻻﺴﺘﺨﺩﺍﻤﺎﺕ ﺍﻟﺘﺭﻜﻴﺒﻴـﺔ ﻓـﻲ ﺸـﻌﺭ‬
http://www.tau.acil/hu,anities/public
‫ ﺘﹸﻘـﺩﻡ ﺘﻠـﻙ‬،‫ ﻭﻟﺠﻌﻠﻬﺎ ﺘﺒﺩﻭ ﻤﺄﻟﻭﻓﺔ ﻟﻠﻘـﺎﺭﺉ‬Cummings
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Pearce, R.H. (1961) The Continuity of ‫ﺍﻟﺘﺭﺍﻜﻴﺏ ﺍﻟﻤﺨﺎﻟﻔﺔ ﻟﻘﻭﺍﻋﺩ ﺘﺭﻜﻴﺏ ﺍﻟﻜﻠﻤﺔ ﻓﻲ ﺍﻟﻠﻐﺔ ﺍﻹﻨﻜﻠﻴﺯﻴﺔ‬
American Poetry. Princeton: .‫ﺒﻤﻭﺍﻀﻊ ﺍﺴﺘﺨﺩﺍﻤﻬﺎ ﺍﻟﺸﻌﺭﻱ‬
Princeton University Press.
Quirk, R.; Greenbaum, S.; Leech, G.; and
Svartuik, J. (1985) A

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