'Why and how do writers of English Literary and playful texts “break the rules of” English?\r'

'After having specify the terms â€Å" elfin and literary”, I will then look presently at cozy uping and the classification of the position Language. thusly frost, rhythm and repletion would be examined followed by how writers break syntactic rules to coming into court thought a only. This will be followed by literary engagement of the parable, collocation and iconicity. Then I will examine pixi new-fangledd text in relation to graffito, newspapers and advertising. literary and sportswomanful usage of manner of speaking is variant from that of e veryday verbiage in that it keys economic aid to the spoken communication itself. Writers achieve this by macrocosmness creative, lord and imaginative.\r\nMoreover, by â€Å"skilfully manipulating language to create patterns and usage” to ex charge up ideas, which draws the refs braggart(a) them an original insight into the world of the writer. (Maybin and Mercer, 1996, p. 198) Writers of literary and arch text use language to draw attention to it by agency of surprising the reader into an original scholarship of the language and the subject matter. This according to the Russian formalists is play uping (Maybin and Mercer, 1996, p. 163). Foregrounding is achieved, by f entirelying out the rules of language, that is sound, grammar and marrow to place the reader in the text.\r\nThus, the reader is surprised into seeing the image, interview the sounds and feeling the emotions. The English Language is class according to the way talking to argon arranged in sequence and it is referred to as a subject verb inclinationive lens or SVO language. This is because the subject always comes before the verb and the object that is being referred to follows the verb. (Graddol etal. , 1994, p. 5) Looking first off at rhyme, rhythm and repetition in literary usage, writers especially poets use this as a form of foregrounding. They use rhyme, rhythm and repetition in to make original observa tions.\r\nAs in William Blakes poem â€Å"The Tyger”, ace discharge see that there is an stopping point rhyme with the first line rhyming with the second, and the threesome with the fourth in an aabb pattern. This is non something is roughhewn in normal speech or text. Therefore, Blake, whilst following the tradition of writing song in end rhymes is breaking the rules of English. Blake does this because he is non only foregrounding the symmetric pattern of the verse in its aabb rhymes pattern, and he is too highlighting the centerfield symmetry of the text. This is done in the first and last stanza where both stanzas ar bilaterally symmetrical apart from one name.\r\nThus, there is a sense of closure and we understand that we wish arrived at an end, but because of the aabb pattern, there is in any case continuity and the idea of the circle of life. Blake as well uses rhythm, with distributively line consisting of four change stressed and unstressed spoke n language, is use to accent mark the beat of not only the go of the Tyger but excessively the rhythmical tanning of the hammer on the anvil. The occasion of the Tyger and the creator of the poem also use repetition and alliteration to foreground the symmetry of the design. (Maybin and Mercer, 1996, p. 165) Authors also use rule breaking to foreground their characters thought regalees.\r\nWilliam Faulkner In his novel â€Å"The depart and the Fury” manipulates the language and surprises the readers into the thought process of the narrator Benjy, who thinks and voices his thoughts, as would a child. He achieves this flow of thought process by omitting the object afterward the verb. Thus, the reader is awkward with the language, which is limited, showing and creating a sense of incompleteness. This is on the button what Faulkner is aiming for, because Benjy although being thirty-three, is incomplete and exhibits the thought and language process that of a child. Maybi n and Mercer, 1996, p. 167)\r\nThe Charles Dickens also breaks the rules governing the syntactic relationship amid intelligences. In his novel The Bleak household Dickens does not, use the verb â€Å"is” after the subject, which is the daze and the object, which is everywhere and everything. By doing this, he foregrounds the reader into an innovative outlook and the reader receives the tactual sensation that there is no escaping from the fog; it is all invasive invading the countryside, the companionable, cultural and policy- make environment. (Maybin and Mercer, 1996, p. 167)\r\nAnother distinctive feature of literary usage is the metaphor and collocation. Metaphors ar comparisons that ar not made explicit. They exploit the hearts of words and â€Å"are slipped into â€Å"the sentence (Maybin and Mercer, 1996, p. 165). The rules of English are broken by the metaphor by playing on the various meanings of a word and the paradigmatic relationship of a word. As in th e use of â€Å" yearning” and â€Å"burnt” in Blakes The Tyger the words not only refer to the eyes of the Tyger but also to the furnace and the stars when speared are also ardent too such an extent that they wet the heaven with their tears.\r\nCollocation refers to the combining tendencies of words” (Maybin and Mercer, 1996, p. 169) that is, the relationship words go with each other, the meanings that are associated with words and in the mount that they are normally used. When this rule is broken, the writers are able to utilise our sense of word collocation to foreground â€Å"unusual and smash association of meaning” (Maybin and Mercer, 1996, p. 169). In chirp Ann Duffys poem ‘Litany metaphors and collocation is used when she writes â€Å"The unutterable espousalss crackled cellophane round polyester shirts”.\r\nMarriages do not crackle. The word crackle is usually associated with dry inanimate objects; it is this association, whic h surprises the reader into looking at the marriage in a new light. The metaphor of the cellophane and polyester shirts continue this theme of inanimateness, dead and dead as opposed to the marriage being alive and thriving. Collocation is also associated with playful usage of English as in Punning.\r\nThis occurs when the different meanings of the words are exploited, as in â€Å"My Children! My Africa! Here the Playwright plays on the word ‘riot to emphasis the difference in culture and explores the difference in meaning associated to a word by differing social groups. (Maybin and Mercer, 1996, p. 171) Another feature of literary usage is the iconic â€Å"where the sounds and shapes of words and phrases imitate special objects or process” (Maybin and Mercer, 1996, p. 172) writers use this contrivance in order for the reader to get a line and hear the sounds being described. Wordsworth in ‘The Prelude uses it to foreknow upon the simple childhood pleasure o f making oneself dizzy.\r\nHe does this by having a colossal sentence where the subject and verb occur late in the passage. This achieves the effect of rushing and go around to an abrupt stop. In addition, one shag almost imagine that even though we have stopped the â€Å"solitary cliffs go around by… the earth rolled… ” (Maybin and Mercer, 1996, p. 172) e e cummings uses this technique in his poem I (Maybin and Mercer, 1996, p. 202) He relies on the visual effect of the poem to emphasis the falling of one leaf and its oneness.\r\n frolicky text also uses language to draw attention to it this is achieved, by breaking the rules of language, that is sound, grammar and meaning Just like in literary usage. Graffiti although regarded as being unsociable and illegal is an field of operations where English is used in a playful and entertain way to highlight a peculiar(a) comment on social issues or give voice to those sub groups that have been denied access to mai nstream. Because of the very nature of graffiti, it tends to be short and succinct. The Graffiti â€Å"Glory to divinity in the High St” (Maybin and Mercer, 1996, p. 10) by deleting a single letter from the angels message to the Shepards, the graffiti satirises the original Christmas message and reflects the commercialization of Christmas.\r\nThis is achieved by playing on the sounds and the meaning of the both words Highest and High St. An example of iconic graffiti that is a thought process would be â€Å"Dsylexia rules KO” The popular press also use puns and word play in their headlines e. g. â€Å"Belly refined (model Naomi Campbell with advertise plump for), Wedding Prez (President Clinton unexpectedly attends a wedding)” (Maybin and Mercer, 1996, p. 17). They by virtue of being tabloid newspapers need to capture the readers attention quickly and be able to express in a short headline the nature of the article.\r\nTherefore, by using headlines like â⠂¬Å"Belly Nice” they play on the phrase â€Å"very nice” in referring to the bare stomach and associating it to her second name Campbell. Another area that breaks the rules of English in a playful way is advertising. Advertising uses all the literary techniques of foregrounding to sell the product, image or idea.\r\nIn the P&O advertisement, the text is simple; it has rhyme, rhythm and repetition, and seems at first glance to be a simple, childs first reader. However, each line does not have the object. It is only at the end that one realises that the last word is the object of the previous lines. In conclusion after having looked at the various distinctive features of literary and playful usage of text one can see that writers, poets, graffiti writers, journalist and the advertisers use and break the rules of English to foreground there ideas in a creative, original and imaginative way.\r\n'