By Geoffrey N. Leech
Seeks to illustrate that the learn of English poetry is enriched through the insights of contemporary linguistic research, and that linguistic and significant disciplines should not separate yet complementary. analyzing quite a lot of poetry, Professor Leech considers many points of poetic variety, together with the language of earlier and current, inventive language, poetic licence, repetition, sound, metre, context and ambiguity.
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Additional info for A Linguistic Guide to English Poetry
Then the ana~ogy w~lln~t be the construction of 'crown him king', but to that of cook him dinner . e. 'for my benefit'. I shall ~lose this very incomplete survey of grammatical deviation in poetry WIth a glance at various 'asyntactic' styles which have made their appearance in modern literature. These mainly seem to have the function of impressionistically evoking psychological states. f W. H. A~d;n evolves a sUbje~tless~ articleless style which suggests to me the exile s loss ofa sense ofidentity and ofa co-ordinated view oflife: ;0 There head falls forward, fatigued at evening, And dreams of home, Waving from window, spread ofwelcome, Kissing ofwife under single sheet; But waking sees Bird-flocks nameless to him, through doorway voices Ofnew men making another love.
15 Such sentiments help to explain why many poets have felt that they share the same language, the same communicative medium, as poets ofearlier gener~tions, whatever important changes the language may have undergone in the meantime. CHAPTER THREE VARIETIES OF POETIC LICENCE What a poet sees as his linguistic heritage may even include dead languages such as Latin and Greek. A type of historical licence current in the period of neo-classical culture following the Renaissance was the use of a word of Latin origin in a sense reconstructed from the literal Latin meanings of its elements.
Of words, eccentric use of parentheses, etc. For him, capitalization, spacll1g, a~d punctuation become expressive devices, not symbols to be used according to typographic custom; he uses the compositor's case as an artist's palette. Some ofhis more extreme experiments in visual poetry resemble coded messages which, for their decipherment, call upon the kind ofskill we use in solving crossword-puzzles and anagrams. 3 of 73 Poems1 yme, The brevity of this poem (which, by the way, because of its semi-rh to point to me enables verse) of does not.
A Linguistic Guide to English Poetry by Geoffrey N. Leech