“r-p-o-p-h-e-s-s-a-g-r” by e. e. cummings: A Critical Analysis

Introduction: “r-p-o-p-h-e-s-s-a-g-r” by e. e. cummings

“r-p-o-p-h-e-s-s-a-g-r” by e. e. cummings was first published in 1931, as part of his collection of poems titled “No Thanks”. This poem is a striking example of Cummings’ experimental style and his rejection of traditional poetic conventions. The poem visually depicts the movements of a grasshopper in its fragmented title and structure of the words themselves. Its playful use of typography, spacing, and the disarrangement of the word “grasshopper” emphasizes the disjointed perception of movement, replicating the agile leaps and sudden pauses that characterize the creature. This visual and linguistic playfulness reflects the poem’s focus on the fleeting and fragmented nature of experience.

Text: “r-p-o-p-h-e-s-s-a-g-r” by e. e. cummings

Annotations: “r-p-o-p-h-e-s-s-a-g-r” by e. e. cummings

Line	Annotation
r-p-o-p-h-e-s-s-a-g-r	The title: Fragmented representation of the word “grasshopper” visually conveys the insect’s erratic movement.
who	Introduces a sense of observation, as if something surprising is about to happen.
a)s w(e loo)k	“as we look” – Emphasizes the act of observation. The parentheses within “look” might suggest a momentary distraction or a shift in focus.
upnowgath	A quick, upward motion (“up now”) followed by “gather,” suggesting a coming together of parts.
PPEGORHRASS	A further scrambling of “grasshopper,” implying its fragmented appearance in mid-leap.
eringint(o-	“gathering into” – Suggests a coalescing of the grasshopper’s form. Parentheses around ‘o’ may hint at the circular shape of its body.
aThe):l	“a The” – Unexpected syntax and capitalization, possibly mimicking the surprising nature of a grasshopper’s sudden appearance.
eA	Elongated “leaf” – Evokes the natural environment and perhaps the arc of the grasshopper’s leap.
!p:	Exclamation and colon – Emphasize a sense of suddenness and pause, like the insect landing.
S	Might represent the ‘S’ in “grasshopper,” now isolated, or symbolize the grasshopper’s stillness.
(r	Begins to restructure the word “grasshopper.” Could also refer to “rising”.
rIvInG	“arriving” is split, creating suspense; suggests continuing movement.
.gRrEaPsPhOs)	A jumbled mix of letters from “grasshopper,” conveying chaotic energy. The capital ‘R’ and ‘P’ may highlight the force of its leap.
to	Signals directionality; the grasshopper has a destination.
rea(be)rran(com)gi(e)ngly	A fragmented and rearranged version of “rearranging comingly.” This playful reconstruction evokes a sense of playful, unexpected motion.
,grasshopper;	Directly names the subject, confirming the previous jumbled letters were the grasshopper all along. The semicolon brings a measured pause, perhaps marking the end of the grasshopper’s motion.

Literary And Poetic Devices: “r-p-o-p-h-e-s-s-a-g-r” by e. e. cummings

Device	Explanation	Example from the Poem
Avant-garde Typography	Unconventional use of spacing, punctuation, and letter arrangement to create visual and aural effects.	The entire poem is an example, especially the fragmented title and jumbled words.
Concrete Poetry	The poem’s visual arrangement contributes to its meaning.	The grasshopper’s leaping movement is visually depicted in the poem’s structure.
Enjambment	Lines run on without grammatical pauses, creating unexpected breaks and connections between words.	“…gatheringint(o- / aThe)…”
Experimental Syntax	Unusual word order and sentence structures.	“a The):l / eA !p:”
Imagery	Vivid language that evokes sensory experiences.	“PPEGORHRASS”, “.gRrEaPsPhOs” (visual imagery of a grasshopper’s form)
Parentheses	Used to disrupt the flow of words, create visual effects, and suggest possible multiple meanings.	“as w(e loo)k”, “eringint(o-“

Themes: “r-p-o-p-h-e-s-s-a-g-r” by e. e. cummings

1. The Dynamism and Surprise of Nature: Cummings captures the grasshopper’s sudden, unpredictable leaps. The fragmented letters (“PPEGORHRASS”) and disjointed lines mimic its erratic movement. This highlights the spontaneity and ever-changing nature of the natural world, and the unexpected joy these small moments can offer.
2. The Power of Observation: The poem begins with “who / a)s w(e loo)k”, highlighting the act of looking itself. It encourages close attention to the world around us, suggesting that beauty and wonder can be found in the most unexpected places – even in a little grasshopper.
3. Fragmentation and Reassembly: The grasshopper’s name is fragmented, then rearranged as “rea(be)rran(com)gi(e)ngly”. This reflects a world in constant flux, where things break apart and come together in new ways. The poem forces the reader to piece together meaning, mirroring the process of perception.
4. Playfulness and Experimentation: The poem’s playful distortion of language disrupts expectations. This experimentation with syntax and form reflects a childlike sense of wonder and possibility, inviting the reader to engage with the world in a fresh, creative way.

Literary Theories and “r-p-o-p-h-e-s-s-a-g-r” by e. e. cummings

Literary Theory	Explanation	Application to “r-p-o-p-h-e-s-s-a-g-r”
Formalism	Focuses on the text itself – its form, structure, and literary devices – without emphasis on the author’s intent or historical context.	Analyzing the poem’s experimental typography, unconventional syntax, and how they create visual and auditory effects.
Reader-Response Theory	Emphasizes the reader’s role in creating meaning from the text. Each reader brings their unique experiences and interpretations.	The fragmented nature of the poem forces the reader to actively co-construct the grasshopper’s image and its movement, leading to varied interpretations.
Deconstruction	Challenges traditional hierarchies and binaries, uncovering hidden tensions and contradictions within the text.	The poem destabilizes expected language patterns (e.g., fragmentation of “grasshopper”), questioning fixed meanings and interpretations.
Postmodernism	Embraces fragmentation, experimentation, playfulness, and rejects grand narratives.	The poem’s focus on the grasshopper as a small, momentary event and its use of non-linear structure reflect a postmodern sensibility.

Critical Questions about “r-p-o-p-h-e-s-s-a-g-r” by e. e. cummings

1. How does the poem’s visual form enhance its representation of the grasshopper’s movement? Answer: The poem’s fragmented letters, unusual spacing, and scattered lines visually mirror the grasshopper’s swift, erratic leaps and pauses. This creates a sense of kinetic energy, forcing the reader to slow down and visually piece together the insect’s form and movement.
2. Does the poem’s experimental style ultimately create a clearer image of the grasshopper, or does it intentionally obscure it? Answer: This is open to interpretation. The distortion might be seen as clarifying the grasshopper’s essence by replicating how we see it in a fleeting moment. Alternatively, it could suggest the limitations of language to fully capture the dynamism of nature.
3. How does the poem invite the reader to become an active participant in its meaning-making? Answer: The poem doesn’t offer a ready-made image. The reader must actively decipher the letters and word fragments, mirroring the process of observing the grasshopper itself. This makes the reader complicit in the poem’s act of creation.
4. In what ways does the poem reflect broader modernist concerns with fragmentation, subjectivity, and perception? Answer: The poem aligns with modernist tendencies to break with traditional forms, focus on the individual’s experience, and question the stability of meaning. It highlights the fragmented nature of perception and how meaning is constructed rather than inherent.

Literary Works Similar to “r-p-o-p-h-e-s-s-a-g-r” by e. e. cummings

• Other works by e. e. cummings: Cummings’ signature style of experimentation with form permeates much of his poetry. Consider:
• ·  “[anyone lived in a pretty how town]” – Its abandonment of traditional grammar and punctuation conventions heightens its exploration of cyclical time and conformity.
• “[l(a]” – The typographical representation of a falling leaf underscores themes of loneliness and transience.
• Concrete Poetry: This genre emphasizes the visual arrangement of words as a significant component of meaning. A notable example:
• “Swan and Shadow” by John Hollander – The poem’s form creates the visual image of a swan, mirroring the duality and reflection explored within the text.
• Futurist Poetry: This Italian literary movement celebrated technological advancement and formal disruption. Key examples include:
• “Zang Tumb Tumb” by F.T. Marinetti – The poem’s use of onomatopoeia and fragmented syntax aims to replicate the chaotic soundscape and disjointed nature of warfare.
• Dadaist Poetry: Characterized by a rejection of logic and traditional aesthetics, Dada poems were often playful and deliberately nonsensical.

Suggested Readings: “r-p-o-p-h-e-s-s-a-g-r” by e. e. cummings

Books:

• Friedman, Norman. E. E. Cummings: The Growth of a Writer. Carbondale: Southern Illinois University Press, 1964. (Provides insights into the development of Cummings’ experimental style throughout his career.)
• Kennedy, Richard S. Dreams in the Mirror: A Biography of E. E. Cummings. New York: Liveright, 1980. (Offers a comprehensive biographical study, contextualizing Cummings’ work within his life and influences.)
• Molesworth, Charles. E. E. Cummings: Beyond the Dialectic. Newark: University of Delaware Press, 1988. (Offers a critical analysis exploring tensions within Cummings’ poetry and its relation to broader literary movements.)

Articles:

• Li, Xin, and Mengchen Shi. “A Stylistic Study on the Linguistic Deviations in EE Cummings’ Poetry.” Journal of Pan-Pacific Association of Applied Linguistics 19.2 (2015): 23-54. (Provides an in-depth examination of how Cummings’ typographical experimentation contributes to meaning.)
• Miller, J. Hillis. “E. E. Cummings’ ‘r-p-o-p-h-e-s-s-a-g-r’.” Poets of Reality: Six Twentieth-Century Writers. Cambridge: Harvard University Press, 1965, pp. 254-283. (Offers a specific analysis of the poem within the context of Cummings’ broader exploration of perception and reality.)

Websites:

• The Academy of American Poets: [invalid URL removed] (Provides a curated selection of Cummings’ poems, a biographical overview, and links to critical articles.)
• Modern American Poetry (University of Illinois) (Offers extensive resources on American modernist poetry, including biographical information, poems, and critical essays related to Cummings’ work.)