目錄
Foreword
Acknowledgments
INTRODUCTION
0.1 The'lang.-lit.' problem
0.2 A descriptive rhetoric
0.3 Poetic language and 'ordinary' language
0.4 A possible misgiving
Notes
1 POETRY AND THE LANGUAGE OF PAST AND PRESENT
1.1 Varieties of English usage
1.1.1 Dialects
1.1.2 Registers: usage according to situation
1.2 Linguistic convention in poetry
1.2.1 The trend of conformity
1.2.2 The function of archaism
1.2.3 Poetic language and 'poetical' language
1.2.4 Grand, middle, and plain styles
1.2.5 The routine licences of verse composition
Examples for discussion
Notes
2 THE CREATIVE USE OF LANGUAGE
2.1 The escape from banality
2.2 Two meanings of'creative'
2.3 The qualities of prose in poetry
2.4 Degrees of linguistic audacity
Examples for discussion
Notes
3 VARIETIES OF POETIC LICENCE
3.1 Anatomy of language
3.1.1 The Three main levels: realization, form, semantics
3.1.2 Phonology and graphology
3.1.3 Meaning and significance
3.1.4 Ancillary branches of linguistics
3.2 Types of deviation
3.2.1 Lexical deviation
3.2.2 Grammatical deviation
3.2.3 Phonological deviation
3.2.4 Graphological deviation
3.2.5 Semantic deviation
3.2.6 Dialectal deviation
3.2.7 Deviation of register
3.2.8 Deviation of historical period
3.3 Conclusion
Examples for discussion
Notes
4 FOREGROUNDING AND INTERPRETATION
4.1 Foregrounding
4.1.1 Foregrounding in art and elsewhere
4.1.2 An example
4.2 Interpretation
4.2.1 The subjectivity of interpretation
4.2.2 The 'warranty' for a deviation
4.3 Parallelism
4.3.1 Parallelism as foregrounded regularity
4.3.2 How much regularity？
4.3.3 Patterns of identity and contrast
4.3.4 The interpretation of parallelism
Examples for discussion
Notes
5 VERBAL REPETITION
5.1 Schemes and tropes
5.2 Formal repetitions
5.2.1 Free verbal repetition
5.2.2 Types of verbal parallelism
5.2.3 The functions of verbal parallelism
Examples for discussion
Notes
6 PATTERNS OF SOUND
6.1 Sound patterns within syllables
6.2 Sound patterns in relation to stress
6.3 ' Music' in poetry
6.4 The interpretation of sound patterns
6.4.1 'Chiming'
6.4.2 Onomatopoeia
6.4.3 Varieties of onomatopoeia
Examples for discussion
Notes
7 METRE
7.1 Rhythm and metre
7.2 The rhythm of English
7.2.1 The measure: the unit of rhythm
7.2.2 Which syllables are stressed？
7.2.3 Pauses
7.2.4 Syllable length
7.3 Metre and the line of verse
7.3.1 English metre as rhythmic parallelism
7.3.2 The 'foot' of traditional prosody
7.3.3 The line of verse
7.3.4 Some numerical aspects of metre
7.3.5 Accentual metre
7.4 The interaction of rhythm and verse form
7.4.1 Defeated expectancy
7.4.2 Metrical variation
7.5 Grammar and metre
7.5.1 Enjambment
7.5.2 The 'verse paragraph'
For discussion
Notes
8 THE IRRATIONAL IN POETRY
8.1 A logical view ofmeaning
8.1.1 Some types of semantic oddity
8.1.2 Definition and description
8.2 Redundancy in poetry
8.2.1 Pleonasm
8.2.2 Tautology
8.2.3 Periphrasis
8.3 Absurdity in poetry
8.3.1 Oxymoron
8.3.2 Paradox
8.4 Beyond reason and credibility
Examples for discussion
Notes
9 FIGURATIVE LANGUAGE
9.1 Transference of meaning
9.1.1 Synecdoche
9.1.2 Metaphor
9.1.3 Metonymy
9.2 Aspects of metaphor
9.2.1 How to analyse a metaphor
9.2.2 Simile and metaphor
9.2.3 Notional classes of metaphor
9.2.4 Extended metaphor
9.2.5 Compound metaphor and mixed metaphor
9.2.6 Symbolism and allegory
Examples for discussion
Notes
10 HONEST DECEPTIONS
10.1 Hyperbole and litotes
10.1.1 Hyperbole
10.1.2 Litotes or rhetorical understatement
10.1.3 The uses of hyperbole and litotes
10.2 Irony
10.2.1 The mask of irony
10.2.2 Irony and metaphor
Io.2.3 Innuendo
10.2.4 Irony of tone
Examples for discussion
Notes
11 IMPLICATIONS OF CONTEXT
11.1 Licences of situation
11.1.1 Rhetorical question
11.1.2 Apostrophe
11.1.3 Routine licences of situation
11.2 The given situation
11.3 The' world within the poem'
11.3.1 The introduction of inferred situations
11.3.2 Words of definite meaning
11.3.3 Fact and ~oll
11.3.4 Impossible situations
11.4 Situation and action
11.5 Conclusion
Examples for discussion
Notes
12 AMBIGUITY AND INDETERMINACY
12.1 Kinds of ambiguity
12.2 Puns and word-play
12.2.1 Technical variations
12.2.2 In defence of the pun
12.3 Open interpretation
12.3.1 Sources of multiple and indetermite signifi Cance
12.3.2 The analogy of visual arts
12.3.3 Seeking the optimal interpretation
Examples for discussion
Notes
CONCLUSION
Notes
Suggestions for Further Readin&
General Index
Index of Sources of Examples for Discussion
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