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English poets ever since the fifteenth century, and more clearly than ever today, there has been a privileged dialect, a standard English, to which any writer wishing to command the attention of a wide educated audience has naturally turned. This standard English cuts across the boundaries of regional dialects, and is, in fact, international American, Indian, Australian, and British writers make use of what, except for minor features of local currency, may be considered the same standard dialect. In the history of English literature since the Middle Ages, only one poet of unquestioned greatness, Robert Burns, has chosen to write his best work outside the standard dialect. Other poets, notably Rudyard Kipling and Thomas Hardy, have made extensive use of dialect in 'character' poems.
It may be helpful, in this light, to discuss two much criticized aspects of the traditional handbook of rhetoric. The first of these is its preservation of, and seeming reverence for, a vocabulary of unnecessarily difficult technical terms. Beside such well-known words as 'metaphor' and 'irony', as names for rhetorical figures, are many more forbidding Greek labels like 'epana-lepsis ', ' homoiotelcuton and ' antistrophe '. It would be foolish to lay any store by the mastery of this cumbersome terminology in an age when the classical languages and cultures are little studied. However, because such terms have a certain currency in literary scholarship, and serve a real communicative purpose, they cannot be altogether discarded. It would be even more foolish, in the present age, to try to replace the classical terms by a completely new terminology, as George Puttenham, the Elizabethan literary theorist, did in his Arte of English Poesie.3 As a considerable part of the present book is...
This specialized poetic usage is only a matter of vocabulary or phraseology. Gulp'h andghyll (the latter 'apparently introduced by Wordsworth')11 are examples of special poetical spellings, by the side of gulf arid gill. Certain syntactic constructions which probably owe their currency to Milton's idiosyncratic influence are also virtually confined to poetry. An example is that of nor following an affirmative clause, in the sense 'and not', as in Browning's 'Flat thus I lie nor flinch' Ivan Iviinovich .
Was there an Indo-European goddess *Priya, or was *Friyo a local creation from an epithet which, as the Vedic evidence shows, could be applied to goddesses That she had a wider currency than the Germanic lands might follow if an alleged Old Czech Prije Aphrodite were better accredited.82 It is equally doubtful whether she can be recognized in Wanassa( ) Preiia, named on early coins of Perge in Pamphylia, as that must be the city goddess elsewhere called (Artemis) Pergaia.
Sake hold your tongue, and let me love. In a few words Donne sets a scene in which his audience understands that the hero of his poem has been attacked through words, probably gossip, due to the hero's manner of loving. The speaker is concerned that because of the provoker's judgment, he will not be allowed to continue his love. He next offers the antagonist substitute targets for his slander, including the obviously aged speaker's physical attributes, such as his palsy, gout, and five gray hairs. Donne chooses the verb chide to make clear that the speaker's nemesis seems a nag with so little to do, he must select an innocent person to rebuke. His next lines further allow his speaker to belittle the antagonist. Not only might the antagonist attack him simply for his age, which amounts to petty cruelty, but he might also criticize the speaker's lack of material goods and social position, saying the attacker might his ruined fortune flout. Again Donne's word choice proves imperative for...
The mechanical, humdrum, repetitive element in everyday communication is anathema to a literary artist, whose task is to restore and enhance the value of the debased linguistic currency in Eliot's phrase translated from Mallarm , to 'purify the dialect of the tribe' Little Gidding , A respected literary style is one in which each choice of vocabulary or grammar is arrived at by exercise of the writer's judgment and sensibility. Indeed, every serious, premeditated use of language, unless it is totally inept, goes some way towards the ideal of a style in which linguistic choices precisely fit their purpose, and bear their full weight of meaning. The phrase 'le mot juste', which comes to mind in this connection, is misleading if it suggests that acceptable prose style is merely a matter of choosing the right words -it is rather a question of drawing freely from all the expressive resources of the language, lexical, grammatical, even orthographic and phonological, for the purpose in hand.
Now that the term 'Language poetry' has academic currency, debate surrounds whether this loose grouping of writers constitutes a 'moment' or 'movement' and whether either formulation is ongoing. If this is a source of tension irresolvable in an article of this brevity, solace can be found in the fact that it is literally a tense problem for Bob Perelman. In The Marginalization of Poetry Perelman takes on the unenviable task of attempting to write a history of something in which he is still participating. As such, in trying to explain the condition of his subject, he has to confide that he is unsure whether he should write 'Language writing differs' or 'Language writing differed' (Perelman, 1996, p. 15). Treating Language poetry now as a set of generaliz-able concerns risks caricaturing, rather than characterizing, a large grouping of individual writers. Now that many are accessible to and in some cases within the Academy as a collective sign, it is hoped that the thinning out of...
From the beginning, the act of writing in the West Indies is marked by a peculiar tension generated by the recognition that it is a product of a colonial society. The West Indian people are not indigenous to the region they constitute the remnants of what was a slave society and the language they speak is that of their conquerors, since their original tongues have long ceased to have currency. So that the very act of writing forces one to acknowledge that one is using the tongue of the conquerors, and that constitutes a kind of betrayal. Again, it is Walcott who expressed this anguish in an early poem, 'A Far Cry From Africa'
Evidence for the chariot image is limited to Graeco-Aryan, except for its currency in the Latin poets, where the same consideration applies as in the case of the ship.49 In the Rigveda it occurs frequently. In several passages it is a straightforward symbol of the poet's craftsmanship
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