Most of what is considered characteristics of literary language nevertheless has its Roots in everyday uses of language and can best be studied with some reference to these uses. Just as there are no firm lines of division between 'poetic' and ' ordinary ' language so it would be artificial to enforce a clear division between the languages of poetry considered as verse literature and that of other literary kind as prose. The creative writer and more particularly the poet enjoy unique freedom.
Among users of the language, without respect to the social or historical contexts to which they belong. This means: among other things. The poet can draw on the language of past Ages, or can borrow features belonging to other non literary use of language.
THIS THE THEORY OF OGDEN AND RICHARDS ON THE MEANING. it extract from their book of meaning of meaning. in which they discussed about the semantics triangle.
Discourse analysis (Linguistics Forms and Functions)Satya Permadi
Discourse analysis is an umbrella term for all those studies within applied linguistics which focus on units/stretches of language beyond the sentence level (Judit, 2012). We as the human is use a natural language utterance which language serves in the expression of 'content' described as transactional and that function involved in expressing social relations and personal attitudes we describe as interactional. Spoken and written language has relation each other. But written language and spoken language have different form. The book concerns with sentence which is 'text-sentence‘, so it will connected to behavior and involves contextual considerations. The data which is used in this book is based on the linguistic output of someone other than the analyst. Besides, discourse analyst discovers regularities in his data.
THIS THE THEORY OF OGDEN AND RICHARDS ON THE MEANING. it extract from their book of meaning of meaning. in which they discussed about the semantics triangle.
Discourse analysis (Linguistics Forms and Functions)Satya Permadi
Discourse analysis is an umbrella term for all those studies within applied linguistics which focus on units/stretches of language beyond the sentence level (Judit, 2012). We as the human is use a natural language utterance which language serves in the expression of 'content' described as transactional and that function involved in expressing social relations and personal attitudes we describe as interactional. Spoken and written language has relation each other. But written language and spoken language have different form. The book concerns with sentence which is 'text-sentence‘, so it will connected to behavior and involves contextual considerations. The data which is used in this book is based on the linguistic output of someone other than the analyst. Besides, discourse analyst discovers regularities in his data.
41Standard language and poetic languageStandard langua.docxtroutmanboris
41
Standard language and poetic language
Standard language and poetic
language
Jan Mukařovský
Jan Mukařovský (1891–1975) was a literary scholar and aesthetician, one of the ma-
jor fi gures of Czech structuralism and a member of the Prague Linguistic Circle. He
was a professor of aesthetics (1945) and rector at Charles University (1948–1953). Af-
ter World War II, he renounced his pre-war structuralism and became politically and
ideologically active. In his work, he stressed the role of the aesthetic function, consid-
ering it the crucial characteristic of any work of art. Th e meaning of a work of art is
the outcome of its dynamic structure, a sum of all component parts. Amongst others,
he developed the notions of the aesthetic norm and the aesthetic function, pointing
out the way works of art fulfi l, as well as violate, existing norms. Th e violations of the
norm, which arise from the foregrounding of some components of the work of art,
ultimately have the potential to become new norms.
42
CHAPTERS FROM THE HISTORY OF CZECH FUNCTIONAL LINGUISTICS
Th is article explores the relationship between the poetic language and the standard.
Mukařovský identifi es poetic language as an entity separate and distinct from the stand-
ard language. In his view, the standard provides the background against which various
distortions are produced with the aim of creating aesthetic eff ects. Th e notions of autom-
atization and foregrounding are then introduced: the former refers to production of an
utterance in an automatic manner, the latter is associated with a more conscious execu-
tion of the utterance that arises when the appropriate norms are violated. In a work of
art, we may fi nd the foregrounding of various components that are mutually hierarchi-
cally organized in terms of domination and subordination.
Th e problem of the relationship between standard language and poetic language can
be considered from two standpoints. Th e theorist of poetic language poses it somewhat
as follows: is the poet bound by the norms of the standard? Or perhaps: how does this
norm assert itself in poetry? Th e theorist of the standard language, on the other hand,
wants to know above all to what extent a work of poetry can be used as data for ascer-
taining the norm of the standard. In other words, the theory of poetic language is pri-
marily interested in the diff erences between the standard and poetic language, whereas
the theory of the standard language is mainly interested in the similarities between them.
It is clear that with a good procedure no confl ict can arise between the two directions
of research; there is only a diff erence in the point of view and in the illumination of the
problem. Our study approaches the problem of the relationship between poetic language
and the standard from the vantage point of poetic language. Our procedure will be to
subdivide the general problem into a number of special problems.
Th e fi rst probl.
POEMS RAIN, LOVELIEST THE TREE THE CHERRY NOW, O WHERE ARE YOU GOING, SINDHI WOMAN, IN THE STREET OF FRUIT STALLS, HOLLOW MEN, TIMES, THE FEED, LEISURE, RUBAIYAT, THE TALE OF TWO CITIES, MY FRIENDS NEIGHBOUR BREATHING HIS LAST, HE CAME TO KNOW HIMSELF, GOD'S ATTRIBUTES, LOVE-AN ESSENCE OF ALL THE RELIGIONS, IN THE BROKEN IMAGES
PHP Frameworks: I want to break free (IPC Berlin 2024)Ralf Eggert
In this presentation, we examine the challenges and limitations of relying too heavily on PHP frameworks in web development. We discuss the history of PHP and its frameworks to understand how this dependence has evolved. The focus will be on providing concrete tips and strategies to reduce reliance on these frameworks, based on real-world examples and practical considerations. The goal is to equip developers with the skills and knowledge to create more flexible and future-proof web applications. We'll explore the importance of maintaining autonomy in a rapidly changing tech landscape and how to make informed decisions in PHP development.
This talk is aimed at encouraging a more independent approach to using PHP frameworks, moving towards a more flexible and future-proof approach to PHP development.
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In this insightful webinar, Inflectra explores how artificial intelligence (AI) is transforming software development and testing. Discover how AI-powered tools are revolutionizing every stage of the software development lifecycle (SDLC), from design and prototyping to testing, deployment, and monitoring.
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Watch this recorded webinar about real-time monitoring of application performance. See how to integrate Apache JMeter, the open-source leader in performance testing, with InfluxDB, the open-source time-series database, and Grafana, the open-source analytics and visualization application.
In this webinar, we will review the benefits of leveraging InfluxDB and Grafana when executing load tests and demonstrate how these tools are used to visualize performance metrics.
Length: 30 minutes
Session Overview
-------------------------------------------
During this webinar, we will cover the following topics while demonstrating the integrations of JMeter, InfluxDB and Grafana:
- What out-of-the-box solutions are available for real-time monitoring JMeter tests?
- What are the benefits of integrating InfluxDB and Grafana into the load testing stack?
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GDG Cloud Southlake #33: Boule & Rebala: Effective AppSec in SDLC using Deplo...James Anderson
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The software team must secure its software delivery process to avoid vulnerability and security breaches. This needs to be achieved with existing tool chains and without extensive rework of the delivery processes. This talk will present strategies and techniques for providing visibility into the true risk of the existing vulnerabilities, preventing the introduction of security issues in the software, resolving vulnerabilities in production environments quickly, and capturing the deployment bill of materials (DBOM).
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Bob Boule
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Transcript: Selling digital books in 2024: Insights from industry leaders - T...BookNet Canada
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Presented by BookNet Canada on May 28, 2024, with support from the Department of Canadian Heritage.
Connector Corner: Automate dynamic content and events by pushing a buttonDianaGray10
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Create a campaign using Mailchimp with merge tags/fields
Send an interactive Slack channel message (using buttons)
Have the message received by managers and peers along with a test email for review
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In a second workflow supporting the same use case, you’ll see:
Your campaign sent to target colleagues for approval
If the “Approve” button is clicked, a Jira/Zendesk ticket is created for the marketing design team
But—if the “Reject” button is pushed, colleagues will be alerted via Slack message
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Neuro-symbolic is not enough, we need neuro-*semantic*Frank van Harmelen
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All of this illustrated with link prediction over knowledge graphs, but the argument is general.
DevOps and Testing slides at DASA ConnectKari Kakkonen
My and Rik Marselis slides at 30.5.2024 DASA Connect conference. We discuss about what is testing, then what is agile testing and finally what is Testing in DevOps. Finally we had lovely workshop with the participants trying to find out different ways to think about quality and testing in different parts of the DevOps infinity loop.
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Keynote at DIGIT West Expo, Glasgow on 29 May 2024.
Cheryl Hung, ochery.com
Sr Director, Infrastructure Ecosystem, Arm.
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The field of Information retrieval (IR) is currently undergoing a transformative shift, at least partly due to the emerging applications of generative AI to information access. In this talk, we will deliberate on the sociotechnical implications of generative AI for information access. We will argue that there is both a critical necessity and an exciting opportunity for the IR community to re-center our research agendas on societal needs while dismantling the artificial separation between the work on fairness, accountability, transparency, and ethics in IR and the rest of IR research. Instead of adopting a reactionary strategy of trying to mitigate potential social harms from emerging technologies, the community should aim to proactively set the research agenda for the kinds of systems we should build inspired by diverse explicitly stated sociotechnical imaginaries. The sociotechnical imaginaries that underpin the design and development of information access technologies needs to be explicitly articulated, and we need to develop theories of change in context of these diverse perspectives. Our guiding future imaginaries must be informed by other academic fields, such as democratic theory and critical theory, and should be co-developed with social science scholars, legal scholars, civil rights and social justice activists, and artists, among others.
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A presentation about the usage and availability of Varnish on Kubernetes. This talk explores the capabilities of Varnish caching and shows how to use the Varnish Helm chart to deploy it to Kubernetes.
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Assuring Contact Center Experiences for Your Customers With ThousandEyes
Foregrounding By Muhammad Azam
1. 1
FOREGROUNDING
BY
MUHAMMAD AZAM
Table of contents
Foregrounding
Introduction
Definition
Qualitative foregrounding;
Types of deviation
a.
b.
c.
d.
e.
f.
Semantic deviation.
Lexical deviation
Grammatical deviation.
Phonological deviation.
Graphological deviation.
Dialectal deviation.
MUHAMMAD AZAM, LECTURER, F.G.SCIENCE DEGREE COLLEGE, WAH CANTT-CELL: 03335418018
2. 2
g. Deviation of register.
e. Deviation of historical period.
Quantitative foregrounding;
Types of Parallelism
a) Free verbal repletion.
b) Anaphora
c) Structural or syntactical parallelism
Conclusion
References
Most of what is considered characteristics of literary language nevertheless has itsRoots in
everyday uses of language and can best be studied with some reference to theseuses. Just as there
are no firm lines of division between 'poetic' and ' ordinary ' language so it would be artificial to
enforce a clear division between the languages of poetryconsidered as verse literature and that of
other literary kind as prose. The creative writer and more particularly the poet enjoy unique
freedom.
Among users of the language, without respect to the social or historical contexts to whichthey
belong. This means: among other things. The poet can draw on the language of past Ages, or can
borrow features belonging to other non literary use of language.
Foregrounding:
Foregrounding' the term is a common name given to the devices by adoptingwhich an artist
shows certain departures from accepted norms of language. In Cuddon'swords (1991: 349) it
.denotes' the use of devices and techniques, which push the act ofexpression into the
foregrounding so that language draws attention to itself, as a general principle anyone who
wants to examine the significance and desirability of a work of art focuses one's attention on the
element of curiosity and surprise rather than on an automatic pattern. Such special attention to
element of language which is crucial to a particular effect in the literary content is known as
foregrounding.
Foregrounding is that technique which reveals the art rather than conceals it. Theterm
'Foregrounding' is especially taken from painting when an object from backgroundis brought in
front to highlight it (Leech 1969: 56-57) In literature this foregrounding isdone by using the
elements of language usually in relation to norms of syntax, lexis and discourse etc. It can be
achieved both by deviating from the set pattern of grammar and also by strictly adopting it.
MUHAMMAD AZAM, LECTURER, F.G.SCIENCE DEGREE COLLEGE, WAH CANTT-CELL: 03335418018
3. 3
Foregrounding
Quantitative foregrounding
Deviation
Semantic
Graphological
qualitative foregrounding
parallelism
LexicalGrammatical
historical
i. Structural or syntactical
ii. Free verbalrepetion
iii. Anaphora
1;Qualitative foregrounding:
It is achieved by going out of set pattern. This deviation is not in usual sense but it is an unusual
sense or deviation which strikes the reader at once the word deviationrefers to the ignorance of
rules and connections generally observed by the users of Language. The liberties poets have
taken with the language have been of immense Pathological degree of abnormality. Such
linguistic deviation foregrounds the figure andthe background is the language. Just as in painting.
The eye picks out the figure as significant and expressive in its faculty of sight. So the reader
picks out the linguisticdeparture in such a phrase as 'a day‟s echo' or 'a grief ago'.
Poetic foregrounding stimulates some interest on the part of the reader the poetdeviates from
the code In order to communicate special message to the reader thereader when he gets struck by
them and follows what the poet wants to convey in thisway the Linguistic deviation becomes
significant.
1.1, Types of deviation:
a.
b.
c.
d.
e.
f.
g.
h.
Semantic deviation.
Lexical deviation
Grammatical deviation.
Phonological deviation.
Graphological deviation.
Dialectal deviation.
Deviation of register.
Deviation of historical period.
1.1. a; Semantic deviation:
The tern1 semantics covers s a wide range of issues involving the meaning
significanceinterpretation and understanding of language". (Linguistics: The Cambridge Survey:
89)'Well-constructed literary, sentence makes a sense. When an artist wants to
createtransference of meanings. He is doing the semantic deviation. Semantic deviations
areregarded as ‘nonsense’ or 'absurdity'. So long as we realize that 'sense' is used in thiscontext
MUHAMMAD AZAM, LECTURER, F.G.SCIENCE DEGREE COLLEGE, WAH CANTT-CELL: 03335418018
4. 4
inn a strictly literal-minded way". (Leech?998: 48).In semantic deviation surface meaning is
different from actual meaning, It
includes the devices like simile metaphor, synecdoche and paradox etc. For exampleWords
worth says:
"Child is the father of man"
The line may be interpreted in various ways as habits of childhood become part of
one'spersonality in later age actual implication of the line shows that words worth was
highlyimpressed by Plato's philosophy of pre-existence of soul. A child in this world IS
freshlysent and he is sill has memories and contacts of external world as he is not exposed
toworldliness and corruption. He has more knowledge of secrets of this world as well as
theEternal world. Ho he is called '-the father of man"In T.S. Eliot's poetry
"The yellow fog that rubs its back upon the window panes"
[Hence poet deviates semantically: he personifies fog and wants to emphasize theDangerous
problem of industrial pollution.
From Shelley's "Adonis"
.'Quench within their burning bed.
The fiery tears and - - -- This elegy 'Burning beds' is metaphorically used for eyes.
."Like a pale flower - - - - - - - - - Here again Shelly uses simile of a pale flower but actually he is talking about Keats.
Semantic deviation
Meaning
Literary
Non literary
Detotative meaning
Connotative meaning
Orthodox
UN orthodox
It is reasonable to translate semantics deviation into non-sense or absurdity. On the surface they
seem quite non- sense but the sense in the context in a strictly literate minded way ( Tariq
Rahman)
1.1.b; Lexical deviation:
„Lex‟ is the basic unit in syntax having a meaning. In lexical deviation poet takesLiberty with the
form of language. In this process the writer introduces the new words.
MUHAMMAD AZAM, LECTURER, F.G.SCIENCE DEGREE COLLEGE, WAH CANTT-CELL: 03335418018
5. 5
Lexical deviation
Neologism
i988:42)
affixation
compounding
functional conversion (Leech
1.1.b.i Neologism:
Neologism is the invention of new words which the poet uses to express his views it is further
divided into two parts.
I)
words which becomes the part of dictionary
11) Nonce-formation.
In the first case the new words which poet uses becomes the part of dictionary forexample:
Assassination [Shakespeare] pandemonium [Milton]; and casuistry [pope] and in
The second type nonce-formation, the words are ephemeral. (Leech)
In other words, these are short lived and are used only for single occasion. Theexample can be
quoted in these words: lota-cracy, Horse-trading etc.
1.1.b,ii; Affixation;
The most common process of word formation is affixation. I t is also divided intotwo parts.
1)
11)
Prefixation.
Suffixation.
Prefix is the addition of one word in the beginning of word. For instance prefixation 'fore' to a
verb permits to convey the meaning of before hand as in 'foresee'.„Foreknow‟ or 'foretells' and
fore warn'. This rule is limited to a small group of items but T.S.Eliot used this word in the
'wasteland 111' as 'fore suffer'. It is the violation ofthis rule and poet has used it for novelty and
as a surprisingly extension of the expressivepossibilities. Like wise suffixes are used at the end
of the words.
1.1.b,iii; Compounding;
Compounding is the joining together of two or more items to make wardcompounds. The
violation in this case is that poet joins such words that are not commonin our ordinary life. For
example Hopkins uses in "The wreck of the Deutschland' windowmaking on the pattern of music
loving, prize loving.& etc.
1.1.b.iv;Functional conversion;
Another means of extending the vocabulary is functional conversion that can bebetter described
as zero-affixation. Functional conversion consists of adapting an item toa new grammatical
function without changing its form for example
“The just man justices' (.As Kingfishers Catch Fire)
'The achieve of the mastery of the thing'. (The window)
In this example 'achieve' is chosen in preference to the very common abstractnoun 'achievement'
and that this choice makes all the difference between poetic vigorand prosaic flatness
MUHAMMAD AZAM, LECTURER, F.G.SCIENCE DEGREE COLLEGE, WAH CANTT-CELL: 03335418018
6. 6
.
1.1.c;Grammatical Deviation;
Grammar is concerned especially with syntax and lexicon. Deviation in grammarcan be easily
expressed by dividing them into two parts:
Grammar (Syntax - Lexicon)
Structure
Deep surface structure
1.1.c.i; Structures;
The structure of a sentence is built in this sequence: s-v-o-c:
In subject comes nouns and pronoun. In verb, verbs and auxiliary. Object isnoun
compliments are objective phrase or noun phrase and adjunct are adverbial phraseprepositional
and sometime noun phrase. The violation in this rule usually comes like adjective usually comes
before noun but in literary piece we find the lines like
a) Those girls hose lovely
b) The city, big and busy
This is called the deviation from structure.
1.1.c.ii; Deep and surface structure
Violations of structure are superficial. Into this category fall violation, in whichcould be
described as bad or incorrect grammar for example: I doesn't like him (surface').
Most deviations of deep structure can be treated as case of mistaken selection oflexical items.
- Many rooms ago (deep).
- A grief ago. (Dyan Thomas)
These are the example of deviant form in deep structure
1.1.d;Phonological Deviation:
Phonology is the study of sound pattern of a particular language. The violation inthis category is
this omission in the beginning, middle and at the end of a word. Thesespecific names are given
to these omissions.
Aphasis: - Aphasis is the omission of words in the beginning for example:
It is ------- 'Tis
Syncope: - syncope is the omission in the middle of a word for example.
Never ------Ne'er
Apocope: - Apocope can be described as omission at the end of a word for example:
Often -------oft
(Leech: 1969)
1.1.e;Graphological deviation:
The deviation is graphological when the strangeness of pronunciation is reflectedthrough
strangeness in written form. It is also the deviation from norms of orthography.Graphological
MUHAMMAD AZAM, LECTURER, F.G.SCIENCE DEGREE COLLEGE, WAH CANTT-CELL: 03335418018
7. 7
deviation means violation of capital letters and punctuation, jumbling ofwords, eccentric and use
of parentheses etc. For example;
Seekers of truth
Follow no path
All paths lead where
Truth is here
All the lines start with small letters and there is unusual space between the lines.nevertheless
they are interpretable. So we notice uneven gaps recapitalizations nopunctuation etc in these
examples Writers violates all the rules of writing to convey different meanings and message.
1.1.f;Dialectal deviation:
Every writer has own dialect they are impacted to write in the general English which is
understandable for all people but some times writes use their regional dialectsin poetry for
example: Chaucer & wrote in mid-land dialect. He writes in Canterbury tales,
“A knyght there was and that a worthy man",
He tells about the character of the knight who is very honorable and worthy man.
“Embrouded was he, as it is very honorable and worthy man”
1.1.g;Deviation of register:
Each profession has its particular uses of language. It is known as its register. Such as medical,
Agriculture, Engineering, business, literature all have their own particularuse of words. But
modem poets have freed themselves from the constraints of poetic language. In order to convey
their message they use all sorts of registers. Often the useone or more registers.
Progress is a comfortable disease'
Or
“Electron deify one razor blade', (E.E.Cummings)
1.1. h;Deviation of Historical period:
The writer has the right to use archaic words. He is not constrained to thelanguage of his own
particular period does rather he have the license to use old words. James Joyce says that a writer
must be familiar with the history of his language. We can say that a writer gives life to old words
alive by using them.
Sometimes dead languages or, archaic words are used to give the impression ofthat age. For
example Coleridge in his ancient Mariner uses a lot of archaic words togive impression of
ancient times.
'Eftsoons' means soon after, the poet made use of the archaic phraseology tosuggest the
atmosphere of the b) gone days.
MUHAMMAD AZAM, LECTURER, F.G.SCIENCE DEGREE COLLEGE, WAH CANTT-CELL: 03335418018
8. 8
Mostly in romances and fairy tales writers use such words to give the impressionof ancient times
when people had a strong t'aith in these tales. For example:
These words are like; Thou, Thee, ye, doth, hath, thy etc
Linguistic deviation is not the only tool of linguistic foregrounding. Another typeof
foregrounding which in a sense the opposite of deviation which consists of extraregularities not
irregularities is parallelism.
1.2. Quantitative Foregrounding;
This type of foregrounding is achieved by being within the language code orthrough regularities.
It is achieved through parallelism.
2.4.1 Parallelism
The word parallelism is derived from Greek „Paralelelas' which means „besides one another'.
(Dictionary of literary terms199-1: 902) The similarities of construction ormeaning of phrases
placed side by side For instance Bacon says in his essay „Of Studies‟
"Crafty men condemn studies, simple men admire them, and wise men use them"
Another example of parallelism is "the fair breeze below, the white foam flew",But parallelism
is not merely a mechanical repetition. It requires some contrastingelements in any paralytic's
pattern there must be an element of contrast.
Element of IdentityIt comprises structurally equivalent units for example Syllable in phonology
clauses in grammar, meter, alliteration and rhyme in rhythm. Allthese units of structure are
elements of identity. We take the following example of the poem „God's Grandeur' by Gerard
Manel Hopkins. "The world is charged with the grandeur of God"
The syllable structure is as follows:
CV CV. V VC C.V.cv. C Cv .C
C = concoanat
V = vowel
The usual pattern of rhythmic pattern shows how element of identity is achievedsuccessfully.
Element of identity is also evident in clauses in grammar. For instance. Inthe following line of
Bacon we see the element of identity.
Clause = Adj +N + V +Obj
Crafty+ men -+condemn + studies
Clause = Adj + N +V + obj
Simple men - admire + them
Clause= Adj + N +V + Obj
Wise + men + use +them
1.2.a Element of Contrast
MUHAMMAD AZAM, LECTURER, F.G.SCIENCE DEGREE COLLEGE, WAH CANTT-CELL: 03335418018
9. 9
Besides the element of identity, element of contrast is also included in thediscussion of
parallelism. Every parallelism sets up a relationship of equivalence betweentwo or more
elements. For instance we take the example of contrast from 'The Justice' written by George
Herbert. "
“Lord, Thou didst make me, yet thou woundest me"
Another line from the same poem also shows the element of contrast
"Lord, Thou woundest me, yet thou dost relieve me".
1.2.b Antithesis;
It is another aspect of parallelism where two opposite things or objects are given ironic effects;
example of antithesis is taken from Ruskin's “Crown of the wild 0live"
“Rough People, rough work gentle people, gentle work."
After this me come to the syntactic parallelism.
1.3 Syntactic parallelism;
Apart from the simple syntactic parallelism: there is another type of syntacticparallelism in
which there are more than two phrases to the pattern moving towards aclimax. In this structure,
expectations are raised and fulfilled. For example we take thelines from “The Merchant of
Venice” by Shakespeare
If thou pick us, do we not bleed?
If thou tickle us, do we not laugh?
If you poison us, do we not die:'
And if thou wrong us, shall we not revenge'?
The given lines are syntactically equal and have the effect of implying samenessof meaning. The
third type of syntactic parallelism is achieved the word order in the firstphase being reversal, in
the second one.For instance “Destroying others: by himself destroyed"
1.4 Verbal Repetition:
Verbal repetition may refer to the repetition of words givan phonological effect:it is not
repetition in the abstract sense of the term but focus is on the direct sense ofactual physical
repetition.
1.5 Schemes:
Schemes include figures of speech such as alliteration, anaphora and chiasmus.Scheme may be
identified as phonological, geographical or semantic deviation. They aredescribed as abnormal
arrangements which help in forceful and harmonious presentationof ideas. Linguistically
schemes are related to expression.
1.6 Tropes:
Tropes are devices which involve alteration of normal meaning of expression.They are identified
as formal or semantic deviation. They more powerful in effect more radical scope. They include
metaphor, irony and synecdoche-linguistically tropesare related to contest.
Both tropes and schemes are interdependent:
i) Formal repetition often presupposes phonological repetition.
MUHAMMAD AZAM, LECTURER, F.G.SCIENCE DEGREE COLLEGE, WAH CANTT-CELL: 03335418018
10. 10
i i ) Formal deviation often presupposes semantic deviation.
To understand phonological repetition or abnormality of expression. We can takethis example: The world is charged with the grandeur of God.
It will fame out, like shining from shook foil;
And all is seared with trade; Bleared smeared with toil:
And wears man's smudge and shares man's smell: the so11
(God's Grandeur: Gerard blanley Hopkins 181-1- 1889)
This extract contains the repetition of 'fa' sound in “flame, from and foil” The sound of 'er' is
also clearly noticeable in “seared‟, smeared, wear”. There is also the repetition of ‘sa' sound in
'seared, wear, smudge, shares, smell and soil”. So we can observe alliteration in these lines
1.7 Formal Repetition:
This comes under the category of schemes and includes lexical and grammaticalrepetition which
is verbal repetition.
1.8 Formal repetition = Lexical + Grammatical (repetition):
These repetitions are not always parallel rather these are sometimes irregular andfree repetition
which affects the rhetoric effect. So schemes include both parallel and freerepetition.
1.8.a Grammatical Repetition;
“I'll fare the land to ills a hastening pray."
“Where health accumulates and men decay”
Here we can see VP follows the repetition of NP
1.8.b Lexical Repetition;
Slowly, slowly rase she up.
And she cam' where he was lying;
And when she drew the curtain by.
Says. "Young man, I think you're dying."
0 it's I am sick and very, very sick,
And it's a' for Barbara Allen.
This example is taken from a folk called, 'Barbara .Allen". It contains repetition ofdifferent
words, adding beauty and musical effect in the lines. Both. grammatical andlesical repetitions
ha.e been discussed with examples. We may say that certain poemscontain both of these
repetition and so becomes formal repetition.
I ' l l love you, dear. I ' l l love you
Till china and Africa meet
I ' l l love you till the ocean
Is folded and living up to drty?
MUHAMMAD AZAM, LECTURER, F.G.SCIENCE DEGREE COLLEGE, WAH CANTT-CELL: 03335418018
11. 11
Here we find lexical repetition with repeated phrases " I ' l l 1ove you". We also findhere
grammatical repetition placed by repetition of (sub +verb + obj ). It is the completeexample of
formal repetition which is including both lexical and grammatical repetition.
1.9 Types of free repetitions:
a. Verbal Repetition
b. Immediate Repetitions
c. Intermittent Repetition or ploce
1.10 Types of Verbal Parallelism:
Most of the verbal repetitions occur at the beginning of the relevant unit of text.Some of the
types of verbal parallelism are as follows:
1.10.a Anphora
In anaphora there is repetition of a nard or a phrase in the beginning of a speech or a sentence.
It may be the opening line of a stanza. The repetition of the same sentence in the beginning of
every stanza is indicatinganaphora. (-----a)(-----a)
1.10.b Epistropa
It is opposite of anaphora. It contains repetition of a Word, phrase or sentence atthe end. So it is a
final repetition.
From the last to west wind
No jewel is the Roslind
All the pictures falnrs Lin'd
Are but black to Rosalind."
(As You Like It by Shakespeare)
We find repetition in the form of the word 'Roslind' at the end of ever coupleof lines(a--b)( a--b)
1.10.c Symploce
Symploce is the combination of anaphora and epistrophe. There is repetition ofinitial and final
words.
There are three ravens sat on a tree
Downe adowne, hay downe, hay downe
There were three ravens sat on a tree with a down
(The Three Ravens, Annanv Mous)
WE find repetition of the phrase. 'three ravens sat on the tree' in the first and last linesand also
repetition of the word 'downe' in second and third lines.
1.10.c Anadipiosis (a-----) (a-----)
In anadipiosis the last part of one unit is repeated at the beginning of the next
.
ForThough wise men at their end know dark is right.
Because their words had forked no lightning they
Do not go gentle into that good night
MUHAMMAD AZAM, LECTURER, F.G.SCIENCE DEGREE COLLEGE, WAH CANTT-CELL: 03335418018
12. 12
Good men. The last wave by, crying how bright
Their frail deeds might have danced in green bay
Raqe. Rage against: the dying of the light.
(Do not go Gentle into that Good: DyIan Thones)1.1o.d
Eqanalepsin (a-----)(a------)
There were three ravens sat on a tree. downe a downe. hat downe.
Downe were three rav.ens sat on a tree with a downe.
(The three Ravens: Annan Mous)
1.10.e Antistrophe
In this we find re petition of items in a reverse order (---a---b---) (---b---a---). Forexample:
Beauty is truth, truth beauty - that is aLL
You know on earth. and all ye need to knov,
1.10.f Polyptoton
A work is repeated with varying gemetrical inflection for example:
Long for me the risk will wait
And long will wait the fold
And long. will stand the empty plate
And dinner will be cold.
(Sir Patrick Spence: Anon~.rnous)
My love has died for me to-day:
I'll die for him tomorrow.
(Barbara Allen Folk Ballad)
1.10.g Homoioteleuton
Here we find repetition of same deviational or inflectional ending on different words: for
example
O,Lady' we receive but what we give
And In one life alone does nature live
(Dejecrion an Ode: Coleridge)
At the end of the lines. We find a clear repetition of musical effect in words give andlive'.
We can say that functlon of Lerbal repetition and parallelism is to enable us tounderstand a
message even conveyed through an unknown language It emphasizes themain theme of a poem
and highlights the emotion of the writers and shows their intensityof emotions, which also gives
musical effect to a work of art.The freedom poet‟s have taken with the 1anguries have been of
immense veritiesand have sometimes (especially in modem times) reached higher degrees of
abnormality,.These abnormalities in creative writing become individual style of a writer. Posts
haveused different linguistic tools in their styles for significance of a piece of literature.
Conclusion:
MUHAMMAD AZAM, LECTURER, F.G.SCIENCE DEGREE COLLEGE, WAH CANTT-CELL: 03335418018
13. 13
Poetic foregrounding presupposes some motivation on the part of the writer andsome explanation
on the part of the reader. (Leech1 969: 5 8)Linguistics and literary criticism deal with poetic
language. Both assemble in the study offoregrounding.
Stylistic is a linguistic approach to the study of literary texts it thus,
ernbodies one essential part of the general course philosophy that of
cornbining language and liyerary study (Ronald Carter: 1986)
The style and structural frame work of Keats' poetry it gives anadditional advantage of being
ever popular with its readers.
More than two centuries have gone but going through the poetry of Keats fillsthe gap of
generations. We read his poetry and never feel that it was written in sodistant and remote past.
Much of his poetry has to offer bears a semblance of ourtimes. What happens in the world of
Keats' poetry .can also be seen happening aroundus in the world of today. It is result of this sense
of oneness with Keats word a senseimposed upon us by his poetry that Keats continues to have a
tremendous appeal to thereaders of twenty-first century .at this point it becomes to make a study
of Keats'poetry in the light of what I stated.
References;
www.google.com
(What is foregrounding?)
WWW.GRADESAVER.COM
(Foregrounding in stylistics)
WWW.ASK.COM
(Foregrounding a literary term)
WWW.OELPRUDE.COM
MUHAMMAD AZAM, LECTURER, F.G.SCIENCE DEGREE COLLEGE, WAH CANTT-CELL: 03335418018