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

After having defined the terms puckish and literary, I will then look briefly at play up and the classification of the incline Language. Then rime, rhythm and repletion would be realized followed by how writers break syntactic rules to show thought process. This will be followed by literary work of the fiction, juxtaposition and iconicity. Then I will examine playful text in relation to graffito, newspapers and advertising. Literary and playful usage of lyric verse form is different from that of everyday speech communication in that it draws caution to the linguistic process itself. Writers achieve this by macrocosm creative, original and imaginative.Moreover, by skilfully manipulating language to create patterns and usage to ex abridge ideas, which draws the readers giving them an original insight into the ground of the writer. (Maybin and Mercer, 1996, p. 198) Writers of literary and playful text determination language to draw attention to it by guidance of surpris ing the reader into an original perception of the language and the subject matter. This according to the Russian formalists is foregrounding (Maybin and Mercer, 1996, p. 163). Foregrounding is achieved, by happy chance the rules of language, that is sound, grammar and meaning to place the reader in the text.Thus, the reader is surprised into visual perception the image, hearing the sounds and feeling the emotions. The English Language is classified according to the look words atomic number 18 arranged in sequence and it is referred to as a subject verb target or SVO language. This is because the subject always comes before the verb and the reject that is being referred to follows the verb. (Graddol etal. , 1994, p. 5) Looking first 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 observations.As in William Blakes rime The Tyger, virtuoso can see that there is an end rhyme with the first personal line of credit rhyming with the second, and the third with the fourth in an aabb pattern. This is non something is common in normal speech or text. Therefore, Blake, whilst following the custom of writing poetry in end rhymes is breaking the rules of English. Blake does this because he is non only foregrounding the symmetrical pattern of the verse in its aabb rhymes pattern, entirely he is as well highlighting the eye symmetry of the text. This is d adept in the first and abide stanza where both stanzas are symmetrical apart from one word.Thus, there is a sense of closure and we understand that we down arrived at an end, but because of the aabb pattern, there is similarly continuity and the idea of the circle of life. Blake overly uses rhythm, with each line consisting of four alternating stressed and unstressed words, is employ to emphasis the beat of non only the tread of the Tyger but also the rhythmical beating of the hammer on the anvil. The creator 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 processes.William Faulkner In his overbold The Sound 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 after the verb. Thus, the reader is uncomfort able with the language, which is limited, showing and creating a sense of incompleteness. This is simply what Faulkner is aiming for, because Benjy although being thirty-three, is incomplete and exhibits the thought and language process that of a child. Maybin and Mercer, 1996, p. 167)The Charles daimon also breaks the rules governing the syntactic relationship between words. In his raw The Bleak House Dickens does not, use the verb is after the subject, which is the fog and the object, which is everyplace and everything. By doing this, he foregrounds the reader into an innovative outlook and the reader receives the vox populi that there is no escaping from the fog it is all invasive invading the countryside, the kind, cultural and political environment. (Maybin and Mercer, 1996, p. 167)Another distinctive feature of literary usage is the metaphor and collocation. Metaphors are comparisons that are not made explicit. They exploit the meanings of words and are slipped into 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 the use of burning and 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 burning too such an extent that they pissing the heaven with their te ars.Collocation refers to the combining tendencies of words (Maybin and Mercer, 1996, p. 169) that is, the relationship words have with each other, the meanings that are associated with words and in the context that they are normally used. When this rule is broken, the writers are able to utilise our sense of word collocation to foreground unusual and striking association of meaning (Maybin and Mercer, 1996, p. 169). In chirrup Ann Duffys poem Litany metaphors and collocation is used when she writes The terrible marriages crackled cellophane round polyester shirts.Marriages do not crackle. The word crackle is usually associated with dry inanimate objects it is this association, which surprises the reader into face at the marriage in a new light. The metaphor of the cellophane and polyester shirts slip by this theme of inanimateness, dead and lifeless as opposed to the marriage being alive and thriving. Collocation is also associated with playful usage of English as in Punning.Thi s occurs when the different meanings of the words are exploited, as in My Children My Africa present the Playwright plays on the word riot to emphasis the difference in socialisation 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 where the sounds and shapes of words and artistic styles accompany particular objects or process (Maybin and Mercer, 1996, p. 172) writers use this device in say for the reader to experience and hear the sounds being described. Wordsworth in The Prelude uses it to call upon the wide-eyed childhood pleasure of making oneself dizzy.He does this by having a broad sentence where the subject and verb occur late in the passage. This achieves the effect of travel and spinning to an abrupt stop. In addition, one can almost opine that even though we have stopped the solitary cliffs Wheeled 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.Playful text also uses language to draw attention to it this is achieved, by breaking the rules of language, that is sound, grammar and meaning middling like in literary usage. Graffiti although regarded as being unsociable and illegal is an area where English is used in a playful and entertaining way to highlight a particular comment on social issues or give voice to those sub groups that have been denied opening to mainstream. Because of the very nature of graffiti, it tends to be short and succinct. The Graffiti Glory to paragon in the High St (Maybin and Mercer, 1996, p. 10) by deleting a single letter from the angels sum to the Shepards, the graffiti satirises the original Christmas message and reflects the commercialization of Christmas.This is achieved by playing on the sounds and the meani ng of the two words Highest and High St. An example of iconic graffiti that is a thought process would be Dsylexia rules KO The popular press also use puns and word play in their headlines e. g. Belly skillful (model Naomi Campbell with bare stomach), 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.Therefore, by using headlines like Belly Nice they play on the phrase very nice in referring to the bare stomach and associating it to her second throw 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.In 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. Howe ver, 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.