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Volume III Poetry of Grammar and Grammar of Poetry
This chapter is in the book Volume III Poetry of Grammar and Grammar of Poetry
POETRY OF GRAMMAR ANDGRAMMAR OF POETRYAccording to Edward Sapir, the juxtaposition of such sequences as thefarmer kills the duckling and the man takes the chick makes us "feel in-stinctively, without the slightest attempt at conscious analysis, that thetwo sentences fit precisely the same pattern, that they are really the samefundamental sentence, differing only in their material trappings. In otherwords, they express identical relational concepts in an identical manner."1Conversely, we may modify the sentence or its single words "in some pure-ly relational, nonmaterial regard"2 without altering any of the materialconcepts expressed. When assigning to certain terms of the sentence adifferent position in its syntactic pattern and replacing, for instance, theword order Ά kills B' by the inverse sequence 'B kills A', we do not varythe material concepts involved but uniquely their mutual relationship.Likewise a substitution of farmers for farmer or killed for kills alters onlythe relational concepts of the sentence, while there are no changes in the"concrete wherewithal of speech"; its "material trappings" remain in-variable.Despite some borderline, transitional formations, there is in languagea definite, clear-cut discrimination between these two classes of expressedconcepts — material and relational — or, in more technical terms, be-tween the lexical and grammatical aspects of language. The linguist mustfaithfully follow this objective structural dichotomy and thoroughlytranslate the grammatical concepts actually present in a given languageinto his technical metalanguage, without any imposition of arbitrary oroutlandish categories upon the language observed. The categories de-scribed are intrinsic constituents of the verbal code, manipulated bylanguage users, and not at all "grammarian's conveniences", as even suchattentive inquirers into poets' grammar as, e.g., Donald Davie wereinclined to believe.31 E. Sapir, Language (New York, 1921), p. 89.2 ibid., p. 89.3 Cf. D. Davie, Articulate Energy; An Inquiry into the Syntax of English Poetry(London, 1955), p. 144.
© 2010 Walter de Gruyter GmbH & Co. KG, Genthiner Str. 13, 10785 Berlin.

POETRY OF GRAMMAR ANDGRAMMAR OF POETRYAccording to Edward Sapir, the juxtaposition of such sequences as thefarmer kills the duckling and the man takes the chick makes us "feel in-stinctively, without the slightest attempt at conscious analysis, that thetwo sentences fit precisely the same pattern, that they are really the samefundamental sentence, differing only in their material trappings. In otherwords, they express identical relational concepts in an identical manner."1Conversely, we may modify the sentence or its single words "in some pure-ly relational, nonmaterial regard"2 without altering any of the materialconcepts expressed. When assigning to certain terms of the sentence adifferent position in its syntactic pattern and replacing, for instance, theword order Ά kills B' by the inverse sequence 'B kills A', we do not varythe material concepts involved but uniquely their mutual relationship.Likewise a substitution of farmers for farmer or killed for kills alters onlythe relational concepts of the sentence, while there are no changes in the"concrete wherewithal of speech"; its "material trappings" remain in-variable.Despite some borderline, transitional formations, there is in languagea definite, clear-cut discrimination between these two classes of expressedconcepts — material and relational — or, in more technical terms, be-tween the lexical and grammatical aspects of language. The linguist mustfaithfully follow this objective structural dichotomy and thoroughlytranslate the grammatical concepts actually present in a given languageinto his technical metalanguage, without any imposition of arbitrary oroutlandish categories upon the language observed. The categories de-scribed are intrinsic constituents of the verbal code, manipulated bylanguage users, and not at all "grammarian's conveniences", as even suchattentive inquirers into poets' grammar as, e.g., Donald Davie wereinclined to believe.31 E. Sapir, Language (New York, 1921), p. 89.2 ibid., p. 89.3 Cf. D. Davie, Articulate Energy; An Inquiry into the Syntax of English Poetry(London, 1955), p. 144.
© 2010 Walter de Gruyter GmbH & Co. KG, Genthiner Str. 13, 10785 Berlin.

Chapters in this book

  1. Frontmatter I
  2. PART ONE: PRINCIPLES
  3. Epigraph: Problems in the Study of Language and Literature 3
  4. Language in Operation 7
  5. Linguistics and Poetics 18
  6. Polish Illustrations to “Linguistics and Poetics” 52
  7. Поэзия грамматики и грамматика поэзии 63
  8. Poetry of Grammar and Grammar of Poetry 87
  9. Grammatical Parallelism and its Russian Facet 98
  10. Subliminal Verbal Patterning in Poetry 136
  11. Le métalangage d'Aragon 148
  12. PART TWO: READINGS
  13. Notes on the Contours of an Ancient Japanese Poem: the Farewell Poem of 732 by Takapasi Musimarö 157
  14. Композиция и космология Плача Ярославны 165
  15. Martin Codax's Poetic Texture: A Revised Version of a Letter to Haroldo de Campos 169
  16. Vocabulorum constructio in Dante's Sonnet “Se vedi li occhi miei” 176
  17. Силуаново славословие св. Савве 193
  18. Славословие Силуана Симеону 206
  19. “Ktož jsú boži bojovníci”: Slovní stavba Husitského chorálu 215
  20. Поэзия Далмации в конце XV века: Стихи Джоре Држича "На лову" 232
  21. “Si Nostre Vie”: Observations sur la composition et structure de motz dans un sonnet de Joachim du Bellay 239
  22. The Grammatical Texture of a Sonnet from Sir Philip Sidney's Arcadia 275
  23. Shakespeare's Verbal Art in "Th'Expence of Spirit" 284
  24. Скорбь побиваемых у дров 304
  25. “Ты хочешь знать: кто я?”: Разбор тобольских стихов Радищева 311
  26. On the Verbal Art of William Blake and Other Poet-Painters 322
  27. La facture d'un quatrain de Puškin 345
  28. R. С 348
  29. Стихи Пушкина о деве-статуе, о вакханке и о смиреннице 356
  30. О “Стихах, сочиненных ночью во время бессонницы” 378
  31. Ein Blick auf Die Aussicht von Hölderlin 388
  32. “Les Chats” de Charles Baudelaire 447
  33. Une Microscopie du dernier “Spleen” dans Les Fleurs du Mal 465
  34. The Grammatical Structure of Janko Král's Verses 482
  35. “Przeszłośc” Cypriana Norwida 499
  36. “Czułośc" Cypriana Norwida 508
  37. К структуре последних стихов Хр. Ботева 519
  38. Le роèmе “Revedere” de Mihail Eminescu 536
  39. Стихотворные прорицания Александра Блока 544
  40. ИЗ МЕЛКИХ ВЕЩЕЙ ВЕЛМИРА ХЛЕБНИКОВА: ВЕТЕР — ПЕНИЕ 568
  41. СЛОВЕНСКИЙ ПРИМЕР УЗЛОВОЙ РОЛИ БЕЗЛИЧНЬІХ ПРЕДЛОЖЕНИЙ В ПОЭТИЧЕСКОМ КОНТЕКСТЕ 577
  42. Grammatical Imagery in Cavafy's Poem “ΣΩMA, θμήσου” 582
  43. О словесном искусстве Казимира Вежиньского 591
  44. Yeats' “Sorrow of Love” through the Years 600
  45. (with L. Stegagno Picchio) Les oxymores dialectiques de Fernando Pessoa 639
  46. Der grammatische Bau des Gedichts von B. Brecht “Wir sind sie” 660
  47. PART THREE: ON THE MARGINS OF LITERARY ART
  48. An Unknown Album Page by Nikolaj Gogol' 679
  49. Лев Толстой в счастливые минуты раздражения 696
  50. Заумный Тургенев 707
  51. Notes on the Makeup of a Proverb 712
  52. PART FOUR: EARLY SKETCHES
  53. Футуризм 717
  54. О художественном реализме 723
  55. Is the Film in Decline? 732
  56. What is Poetry? 740
  57. The Dominant 751
  58. Dopis Jiřímu Voskovcovi a Janu Werichovi о noetice a semantice švandy 757
  59. Retrospect 765
  60. List of Diagrams and Illustrations 791
  61. Index of Names 793
  62. Index of Languages Discussed 803
  63. Index of Subjects 805
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https://doi.org/10.1515/9783110802122.87

Chapters in this book

  1. Frontmatter I
  2. PART ONE: PRINCIPLES
  3. Epigraph: Problems in the Study of Language and Literature 3
  4. Language in Operation 7
  5. Linguistics and Poetics 18
  6. Polish Illustrations to “Linguistics and Poetics” 52
  7. Поэзия грамматики и грамматика поэзии 63
  8. Poetry of Grammar and Grammar of Poetry 87
  9. Grammatical Parallelism and its Russian Facet 98
  10. Subliminal Verbal Patterning in Poetry 136
  11. Le métalangage d'Aragon 148
  12. PART TWO: READINGS
  13. Notes on the Contours of an Ancient Japanese Poem: the Farewell Poem of 732 by Takapasi Musimarö 157
  14. Композиция и космология Плача Ярославны 165
  15. Martin Codax's Poetic Texture: A Revised Version of a Letter to Haroldo de Campos 169
  16. Vocabulorum constructio in Dante's Sonnet “Se vedi li occhi miei” 176
  17. Силуаново славословие св. Савве 193
  18. Славословие Силуана Симеону 206
  19. “Ktož jsú boži bojovníci”: Slovní stavba Husitského chorálu 215
  20. Поэзия Далмации в конце XV века: Стихи Джоре Држича "На лову" 232
  21. “Si Nostre Vie”: Observations sur la composition et structure de motz dans un sonnet de Joachim du Bellay 239
  22. The Grammatical Texture of a Sonnet from Sir Philip Sidney's Arcadia 275
  23. Shakespeare's Verbal Art in "Th'Expence of Spirit" 284
  24. Скорбь побиваемых у дров 304
  25. “Ты хочешь знать: кто я?”: Разбор тобольских стихов Радищева 311
  26. On the Verbal Art of William Blake and Other Poet-Painters 322
  27. La facture d'un quatrain de Puškin 345
  28. R. С 348
  29. Стихи Пушкина о деве-статуе, о вакханке и о смиреннице 356
  30. О “Стихах, сочиненных ночью во время бессонницы” 378
  31. Ein Blick auf Die Aussicht von Hölderlin 388
  32. “Les Chats” de Charles Baudelaire 447
  33. Une Microscopie du dernier “Spleen” dans Les Fleurs du Mal 465
  34. The Grammatical Structure of Janko Král's Verses 482
  35. “Przeszłośc” Cypriana Norwida 499
  36. “Czułośc" Cypriana Norwida 508
  37. К структуре последних стихов Хр. Ботева 519
  38. Le роèmе “Revedere” de Mihail Eminescu 536
  39. Стихотворные прорицания Александра Блока 544
  40. ИЗ МЕЛКИХ ВЕЩЕЙ ВЕЛМИРА ХЛЕБНИКОВА: ВЕТЕР — ПЕНИЕ 568
  41. СЛОВЕНСКИЙ ПРИМЕР УЗЛОВОЙ РОЛИ БЕЗЛИЧНЬІХ ПРЕДЛОЖЕНИЙ В ПОЭТИЧЕСКОМ КОНТЕКСТЕ 577
  42. Grammatical Imagery in Cavafy's Poem “ΣΩMA, θμήσου” 582
  43. О словесном искусстве Казимира Вежиньского 591
  44. Yeats' “Sorrow of Love” through the Years 600
  45. (with L. Stegagno Picchio) Les oxymores dialectiques de Fernando Pessoa 639
  46. Der grammatische Bau des Gedichts von B. Brecht “Wir sind sie” 660
  47. PART THREE: ON THE MARGINS OF LITERARY ART
  48. An Unknown Album Page by Nikolaj Gogol' 679
  49. Лев Толстой в счастливые минуты раздражения 696
  50. Заумный Тургенев 707
  51. Notes on the Makeup of a Proverb 712
  52. PART FOUR: EARLY SKETCHES
  53. Футуризм 717
  54. О художественном реализме 723
  55. Is the Film in Decline? 732
  56. What is Poetry? 740
  57. The Dominant 751
  58. Dopis Jiřímu Voskovcovi a Janu Werichovi о noetice a semantice švandy 757
  59. Retrospect 765
  60. List of Diagrams and Illustrations 791
  61. Index of Names 793
  62. Index of Languages Discussed 803
  63. Index of Subjects 805
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