{"id":3923,"date":"2013-04-19T10:00:47","date_gmt":"2013-04-19T10:00:47","guid":{"rendered":"http:\/\/www.eltweekly.com\/elt-newsletter\/?p=3923"},"modified":"2013-04-19T10:00:47","modified_gmt":"2013-04-19T10:00:47","slug":"vol-5-issue-14-research-paper-language-and-literature-interface-recovery-aspects-in-poetry-by-d-murali-manohar","status":"publish","type":"post","link":"https:\/\/eltweekly.humbeestudio.xyz\/?p=3923","title":{"rendered":"Vol. 5 Issue 14 \u2013 Research Paper: ‘Language and Literature Interface: Recovery Aspects in Poetry’ by D. Murali Manohar"},"content":{"rendered":"

ELTWeekly Vol. 5 Issue#14 | April 22, 2013 |\u00a0ISSN 0975-3036<\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/p>\n

This paper is written and submitted by\u00a0Dr.D.Murali Manohar<\/strong>,\u00a0Head and Associate Professor,\u00a0Dept. of English,\u00a0University of Hyderabad,\u00a0Hyderabad.<\/em><\/p>\n

Introduction:<\/b><\/p>\n

English language has a particular syntactic structure. If we follow Noam Chomsky who has theorized a fixed pattern of sentences in his book Syntactic Structures<\/i> (1957) such as NP+VP which means Noun Phrase in the subject position and Verb Phrase in the predicate position. Anything that is beyond is considered as deviance.<\/p>\n

Objective:<\/b><\/p>\n

The objective of this paper is to see how the creative writers especially the poets deviate from the Standard English. The creative writers have their freedom to experiment with the language. They are not people who are to be told how to write sentences using grammar rules etc. They have poetic license especially the poets.<\/p>\n

Scope:<\/b><\/p>\n

The scope of this paper is to explore in a few poets but this is not exhaustive. It can be extended to other poets of New Literatures. In fact the experiment is more aggressive in the new Literatures.<\/p>\n

Research Methodology:<\/b><\/p>\n

The researcher has chosen a few poets to see how they deviate from the Standard English. Many poems have to be read to find the poems in which the poets writing and expressing their ideas, perception, imagery, thought etc. While doing so either consciously or unconsciously they have deviated from the Standard English. It was not easy to find such poems where the deviance existed. Some appeared deviant but later some of them were to be found all right. Such usage is accepted.<\/p>\n

Argument:<\/b><\/p>\n

In this paper, I am going to deal with recoverable aspects in poetry. The aspects are (a) subject (b) conjunction and (c) verb. These aspects are recoverable. They are assumed in poetry and deleted for technical purpose. I will deal with them in a specific order- such as subject as the first, conjunction as the second and verb as the third \u2013 in any sentence that one can see.<\/p>\n

Let me give examples of \u2018subject\u2019 deletion.<\/p>\n

    \n
  1. The following lines are taken from the poem entitled \u201cThe Last Summer\u201d written by Seamus Heaney.<\/li>\n<\/ol>\n

    Carries a stone in his pocket<\/p>\n

    An ash-plant under his arm.[i]<\/a><\/p>\n

    In the above lines Seamus Heaney has deleted the subject \u2018he\u2019. It can be recovered based on the pronoun \u2018his\u2019 in the phrase \u201cin his pocket\u201d. It is assumed that there is a subject \u2018He\u201d. The correct sentence will be:<\/p>\n

    He <\/i><\/b>carries stone in his pocket<\/p>\n

    An ash-plant under his arm.<\/p>\n

      \n
    1. The following lines are taken from the poem from the poem entitled \u201cThe Last Summer\u201d written by Seamus Heaney:<\/li>\n<\/ol>\n

      Moves out of the fog<\/p>\n

      On the lawn, pads up the terrace.[ii]<\/a><\/p>\n

      In the above lines Seamus Heaney has deleted the subject \u2018He\u2019. It can be recovered by adding the subject position as He\/It\/She. It is assumed that there is a subject \u2018He\u2019. The correct sentence will be:<\/p>\n

      He <\/i><\/b>moves out of the fog<\/p>\n

      On the lawn, pads up the terrace.<\/p>\n

        \n
      1. The following lines are taken from the poem \u201cLand\u201d written by Seamus Heaney:<\/li>\n<\/ol>\n

        Cleaned out the drains, faced the hedges<\/p>\n

        and often got up at down<\/p>\n

        to walk the outlaying fields.[iii]<\/a><\/p>\n

        In the above lines Seamus Heaney had deleted the subject. The subject either can be \u2018He\u2019 or \u2018She\u2019 as the context does not tell us. However, subject either he or she ought to be thereto have a perfect sentence. The subject he\/she is recoverable as drains is generally done by the male so it has to be \u2018He\u2019. It is assumed that there is a subject he\/she in the sentence. The correct sentence will be:<\/p>\n

        He\/She<\/i><\/b> cleaned out the drains, faced the hedges<\/p>\n

        and often got up at down<\/p>\n

        to walk the outlaying fields.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/i><\/b><\/p>\n

          \n
        1. The following lines are taken from the poem entitled \u201cA Winter\u2019s Tale\u201d written by Seamus Heaney:<\/li>\n<\/ol>\n

          She was there first<\/p>\n

          And so appeared one hunter<\/p>\n

          But, making all comers guests,<\/p>\n

          She stirred as from a winter<\/p>\n

          Sleep. Smiled.[iv]<\/a><\/p>\n

          In the above lines in the second sentence, Seamus Heaney has deleted the subject, \u2018she\u2019. The subject is recoverable as the previous sentence refers to a female. Therefore, it has to be pronoun \u2018she\u2019. The correct sentence will be:<\/p>\n

          And so appeared one hunter<\/p>\n

          But, making all comers guests,<\/p>\n

          She stirred as from a winter<\/p>\n

          Sleep. She<\/i><\/b> smiled.<\/p>\n

            \n
          1. The following lines are taken from the poem entitled \u201cA Winter\u2019s Tale\u201d written by Seamus Heaney:<\/li>\n<\/ol>\n

            Uncradled her breasts.[v]<\/a><\/p>\n

            In the above sentence Seamus Heaney has deleted the subject \u2018she\u2019. The subject is recoverable based on the pronoun that has been used in the sentence. It is assumed that there is a subject \u2018she\u2019. The correct sentence will be:<\/p>\n

            She<\/i><\/b> uncradled her breasts.<\/p>\n

            So far I have talked about the subject recovery in the sentences. Now I will turn to the attention with regard to deletion of conjunction.<\/p>\n

              \n
            1. The following lines are taken from the poem entitled \u201cA Wind Flashes the Grass\u201d written by Ted Hughes.<\/li>\n<\/ol>\n

              They too are afraid they too are momentary<\/p>\n

              stream rivers of shadow.[vi]<\/a><\/p>\n

              In the above lines Ted Hughes has deleted the conjunction \u2018and\u2019 between equal sentences. The function of the conjunction \u2018and\u2019 is to join two equal sentences\/phrases\/words. The conjunction \u2018and \u2018 can be recovered. It is assumed that there is a conjunction \u2018and\u2018. The correct sentence will be:<\/p>\n

              They too are afraid they too are momentary<\/p>\n

              stream rivers of shadow.<\/p>\n

                \n
              1. The following lines are taken from the poem entitled \u201cField work\u201d written by Seamus Heaney:<\/li>\n<\/ol>\n

                I was standing watching you<\/p>\n

                Lake the pad from the gate house at the crossing<\/p>\n

                And reach to lift a white ash off the whims. [vii]<\/a><\/p>\n

                In the above lines Seamus Heaney has deleted the conjunction \u2019and \u2018between the two equal verbs. It can be recovered on the basis that the conjunction plays a role in maintaining balance between the same verbs. I t is assumed that there is conjunction \u2018and\u2019. The correct sentence will be:<\/p>\n

                I was standing and <\/i><\/b>watching you<\/p>\n

                Lake the pad from the gate house at the crossing<\/p>\n

                And reach to lift a white ash off the whims.<\/p>\n

                  \n
                1. The following lines are taken from the poem entitled \u201cTriptych\u201d written by Seamus Heaney.<\/li>\n<\/ol>\n

                  She began to speak<\/p>\n

                  \u2018I think our ery from is bound to change.<\/p>\n

                  Dogs in a siege. [viii]<\/a><\/p>\n

                  In the above lines, second sentence, Seamus Heaney has deleted the main verb \u2018are\u2019. The verb is \u2018are\u2019 because in the subject position we have plural noun. Hence we must have \u2018are\u2019 in the plural noun. Hence we must have \u2018are\u2019 in the verb position place. It is recoverable. It is assumed that there is a verb. It is assumed that there is a verb \u2018are\u2019. The correct sentence will be:<\/p>\n

                  She began to speak<\/p>\n

                  \u2018I think our very from is bound to change.<\/p>\n

                  Dogs are <\/i><\/b>in a siege.<\/p>\n

                    \n
                  1. The following lines are taken from the poem entitled \u201cThe Badgers\u201d written by Seamus Heaney:<\/li>\n<\/ol>\n

                    His sturdy dirty body<\/p>\n

                    And interloping grovel.<\/p>\n

                    The intelligence in his bone.[ix]<\/a><\/p>\n

                    In the above lines, second sentence, Seamus Heaney has deleted the verb \u2018is\u2019. We have the subject and the object but no predicate. So the predicate has to be \u2018is\u2019 in the above second sentence. It can be recovered by the rule that a sentence ought to have a predicate. It is assumed that there is a verb \u2018is\u2019. The correct sentence will be:<\/p>\n

                    His sturdy dirty body<\/p>\n

                    And interloping grovel.<\/p>\n

                    The intelligence is <\/i><\/b>in his bone.<\/p>\n

                      \n
                    1. The following lies are taken from the poem entitled \u201cFull Moon and Little Frieda\u201d written by Ted Hughes:<\/li>\n<\/ol>\n

                      A cool small evening shrunk to a dog bark and the clank of a bucket-<\/p>\n

                      And you listening.[x]<\/a><\/p>\n

                      In the above lines at \u201cAnd you listening\u201d Ted Hughes has deleted the verb \u201care\u201d. It can be recovered based on the verb phrase rule that the continuous form can not occur with auxiliary verb such as be form \u201care\u201d. It is assumed that there is a helping verb such as \u2018are\u2019. The correct sentence will be:<\/p>\n

                      A cool small evening shrunk to a dog bark and the clank of a bucket-<\/p>\n

                      And you are<\/i><\/b> listening.<\/p>\n

                        \n
                      1. The following lines are taken from the poem entitled \u201cTriptych\u201d written by Seamus Heaney:<\/li>\n<\/ol>\n

                        I see a stone house by a pier.<\/p>\n

                        Elbow room. Broad window light.[xi]<\/a><\/p>\n

                        In the above lines, second sentence, Seamus Heaney has deleted the subject, the verb and the conjunction. One sentence has been divided into two sentences with punctuation. When we look at the context one can see the second structure ought to have the subject \u2018I\u2019 the verb \u2018see\u2019 and the conjunction \u2018and\u2019 between two noun phrases. They are recoverable aspects. It is assumed that the subject \u2018I\u2019, the verb \u2018see\u2019 and the conjunction \u2018and\u2019 are there between the two equal noun phrases. The correct sentence will be:<\/p>\n

                        I see a stone house by a pier.<\/p>\n

                        I see<\/i><\/b> elbow room and <\/i><\/b>broad window light.<\/p>\n

                        I think the above example in a way summarizes the three recoverable aspects that I have chosen in poetry. The deviances can be captured.<\/p>\n

                        Conclusion:<\/b><\/p>\n

                        To conclude, poets such as Seamus Heaney and Ted Hughes have deleted aspects which can be recovered. The generalization of the above examples is to show how the poets delete certain aspects such as (a) subject (b) Conjunction and (c) verb for their technical purposes.<\/p>\n

                        \n
                        \n
                        \n

                        [i]<\/a> Heaney, Seamus. Wintering Out. <\/i>London: Faber, 1972. P.18.<\/p>\n<\/div>\n

                        \n

                        [ii]<\/a> Ibid., P.18.<\/p>\n<\/div>\n

                        \n

                        [iii]<\/a> Ibid., P.21.<\/p>\n<\/div>\n

                        \n

                        [iv]<\/a> Ibid., P. 65.<\/p>\n<\/div>\n

                        \n

                        [v]<\/a> Ibid., P. 65.<\/p>\n<\/div>\n

                        \n

                        [vi]<\/a> Hughes, Ted. Wodwo<\/i><\/b>. London: Faber, 1979. P.29.<\/p>\n<\/div>\n

                        \n

                        [vii]<\/a> Heaney, Seamus. Field Work<\/i><\/b>. London: Faber, 1967. P. 52.<\/p>\n<\/div>\n

                        \n

                        [viii]<\/a> Ibid., P.13<\/p>\n<\/div>\n

                        \n

                        [ix]<\/a> Ibid., p.26.<\/p>\n<\/div>\n

                        \n

                        [x]<\/a> Ibid., P.182.<\/p>\n<\/div>\n

                        \n

                        [xi]<\/a> Ibid., P.12.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

                        ELTWeekly Vol. 5 Issue#14 | April 22, 2013 |\u00a0ISSN 0975-3036 This paper is written and submitted by\u00a0Dr.D.Murali Manohar,\u00a0Head and Associate Professor,\u00a0Dept. of English,\u00a0University of Hyderabad,\u00a0Hyderabad. Introduction: English language has a particular syntactic structure. If we follow Noam Chomsky who has theorized a fixed pattern of sentences in his book Syntactic Structures (1957) such as NP+VP 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