Amicably, in today’s English literature and its respected applications such as those involving creative literacy in language and the arts implies a sensible touch of how trends in the area are evolving nowadays as there can be ideal approaches to such literacy creativity as the focus for this piece will be centering on poetry within such underlying poetic texts more particularly dealing to such critical assessment found within the process of cognitive poetics that assumes such sense of interdisciplinary approach in literature processes that are possible in the organizing and utilizing knowledge. Moreover, it can be that in cognitive poetics, there is ample exploration of such attempt in finding out how poetic language and form is being realized having the ideal perspectives and responses to poetry and its deemed interpretation within its textual structures and standards and then, there accounts for such relationship between the structure of literary texts and its perceived effect respectively known and applied in literature. Thus, such approach requires combination of disciplines of particular literary criticism and certain linguistics and that cognitive poetics is to explore the possibilities and limitations of possible creative combinations.
Several poetic texts has been annotated with vocabulary and grammar reference for such reasons for one, in helping learners in their skills in analytical prowess such as those that involves grasping of conjugations and something about how such poetic texts are being used in particular media and or passage. For instance, cognitive term in such icons and metaphors do share certain property of signification as being motivated by similarity of such connecting sequences from within the human mind. Thus, treatment of metaphor and iconicity will then provide cohesive and integrated explanation of linguistic phenomena in poetic conversation. There will be also imperative drifts in strengthen such cognitive poetic approach and be able to provide integrated explanation any of its underlying word formation, word order as well as its poetic system categories that can be ample manifestations of good substance in understanding the creative side of literature that it can be possible that such value of poetic texts are particularly suited for English exploration in creativity rather than in such spoken dialogue (1980,1993).
The poetry stance then exhibits structural correspondences between form and meaning navigated by conventional metaphors for linguistic forms. One useful example is the piece of poetry as indicated below.
Lord, who createdst man in wealth and store,
Though foolishly he lost the same,
Decaying more and more,
Till he became
Most poore:
With thee
O let me rise
As larks, harmoniously,
And sing this day thy victories:
Then shall the fall further the flight in me.
My tender age in sorrow did beginne:
And still with sicknesses and shame
Thou didst so punish sinne,
That I became
Most thinne.
With thee
Let me combine
And feel this day thy victorie:
For, if I imp my wing on thine,
Affliction shall advance the flight in me.
Furthermore, it can be that the meaning expressed by the language and the visual form of this poem constitute simultaneously an image, diagram and metaphor of “Easter Wings.” The image is the dominant iconic manifestation in this particular example; but, the creativity of this image is enhanced by the diagrammatic and metaphorical manifestations as clarified by the analysis. There can be demonstration of effectiveness in the dynamic production of meaning in language and in poetic texts in particular. The poetic analysis has proved that such metaphor icon link is not simple one. In order to see how the organic unity of poetic texts is achieved by the metaphor-icon link, there needs detailed reading of the texts in various aspects such as in visual and auditory forms, structure of meaning, pragmatic and cultural contexts and background information (1993, 1994 ).
The idea that poetry is being concerned with communicating thoughts and feelings through verbal rhythms and images is widely accepted and dates back centuries. The issue of appreciation may be more subtle that simple combining of verbal eloquence and vivid imagery. Stylistic uses of language can finesse a balance between language and imagery, so that the reader ‘s attention is not completely on either but on both in a mental model where they imply each other. But the poem is curiously conflicted in this regard. Each stanza begins briskly but then slows and becomes sluggish in its meter. The first two lines of each stanza have rollicking, sing-song meter that suggests the rhythm of the waves or the pitching of ship. Their masculine rhyme is hard and punchy. The rhyme in these pairs is feminine, ending on softer unaccented syllables. The difference between the first and second pairs of lines in each stanza is marked.
Obviously, there is some poetic emphasis in this point of view, one belonging to a brilliant poet and self-taught translator referring to certain private experience. One important advantage of the poetic text is its apparent distancing from outer language functions. A literary work of art as verbal account does not fulfill any acts of illocution or perlocution ( 1980). However, the essence of poetic text resides in its ability to perform intertextual, complex and richly structured communicational situations in pragmatic, cultural and social dimensions. Within the poetic text there may be found ‘language games’ which are classic and characteristic for natural language, especially in its spoken form. This is also the pattern, as Lyotard says, of ‘language agonistics’ (1997). The poetic approach can then be possibly destined to move rhetorical criticism beyond exercisein figurative identification and towards an exercisein the explanation of persuasive function of texts and its symbolism.
However, one implication of cognitive linguistic theories in the poetry is that they pointtowards what envisage as cognitive rhetoricof poetry itself that can be cognitive rhetoric of poetry ought to be groundedin classical theories of rhetoric and poeticsand in cognitive linguistictheories of textual interpretations on the other point and that such poetic scope would reveal continuitybetween the concerns of current critics andthe concerns of classical rhetoricians. It wouldalso place equal emphasis on the poet’s production offigurative language and the reader’s comprehensiveprocessing of it. Like for instance, as what Dickinson’s poemsare meant to reveal, ultimately, is poetry’s profoundly rhetorical nature.As the cognitive poetics suggests that in response to poetry, adaptive devices are turned to an aesthetic end. In a universe in which “the centre cannot hold”, readers of poetry find pleasure not so much in the emotional disorientation caused by mannerist devices, but rather in the reassertion that their adaptive devices, when disrupted, function properly. This is one reason for mannerist styles to recur in cultural and social periods in which more than one scale of values prevail. However, when one considers the perceived qualities of poetry, one cannot escape facing rather disconcerting issue. Words designate “compact” concepts, whereas some poetry at least is said to evoke diffuse emotions, vague moods, or varieties of mystic experiences. Furthermore, as brain research seem to suggest, language adheres for such sequential activity, of conspicuously logical character, typically associated with the left cerebral hemisphere; whereas dispersal of some emotional processes are just associated with the right cerebral hemisphere. Thus, the approach in cognitive poetics that comes precisely in such indicative notion of cognitive hypotheses to relate in systematic way, the specific effects of poetry within such particular regularities that occur in literary texts.
One major assumption of cognitive poetics is that poetry exploits, for aesthetic purposes, cognitive processes that were initially evolved for non-aesthetic purposes, just as in evolving linguistic ability; old cognitive and physiological mechanisms were turned to new ends. Such an assumption is more parsimonious than postulating independent or linguistic mechanisms. The reading of poetry involves the modification of cognitive processes, and their adaptation for purposes for which they were not originally “devised”. In certain extreme but central cases, this modification may become “organized violence against cognitive processes”, to paraphrase the famous slogan of Russian Formalism. In this respect, one should point out that emotions are efficient orientation devices; and that much manneristic poetry is, precisely, poetry of disorientation. The cognitive correlates of poetic processes must be described, then, in three respects: the normal cognitive processes; some kind of modification or disturbance of these processes; and their reorganization according to different principles.
In addition, cognitive poetics may be interested in two complementary issues regarding the creativity and novelty manifested in poetic language.
- Given that this creative use of language results in the intricacies and complexities of poetic language, what are the unique cognitive processes which this complex use of language requires
- Given the fact that despite its complexity, poetic language is, in principle, interpretable, what are the general cognitive constraints, the adherence to which, guarantees the interpretability of poetic language
The reader can be inclined to extract from parallel entities their common ingredients. When the first three lines are read out to students, they abstract from these lines such abstractions as “going down”, “decrease of activity”. When asked whether this description has any emotional quality, they more often than not suggest the emotional quality “calm”. Individuals will recall that such poetic emotions are associated with some deviation from normal energy level and that the lowering of energy has been associated with sadness, depression and or calmness. It is only the fourth line that supplies the “cognitive situation appraisal” and resolves the emotional quality of the landscape description in favor of “sadness”.
Consequently, the attribution of cognitive notions to a bird is not very bold. The only other formal metaphor in the poem is crept on, in the sense of “moved on slowly”; this is not very bold metaphor either. The rest of the poetry can contain plain, non-metaphorical language and generate intense emotional atmosphere. There is contiguity between the bird and the bough upon which it is sitting and there is contiguity between the bough and the tree, of which presumably it is part. Furthermore, there is contiguity between the tree, the wind, the stream, the forest, the ground, and the mill-wheel’s sound: they all combine to coherent landscape. However, the poem may project the principle of equivalence from the axis of similarity to the axis of contiguity: lines three and four are similar in that both the stream and the wind have low temperature and that both are “creeping on”. Henceforth, one of man’s greatest achievements is personal consciousness such as from streams of sensory information that flood his senses as Stable, well organized categories constitute manipulability small load of information on one’s cognitive system and entail the loss of important sensory information that might be crucial for the process of accurate adaptation.
Nonetheless, metaphor explores such issues as how to furnish the best possible paraphrase for a metaphor, or how people understand novel metaphors. Here we have two metaphors that do not differ significantly in their meanings, but rather in their perceived effects. The cognitive frame of reference has contributed to an explanation of this difference: It has explained the relationship between certain linguistic structures and the “regression” to low category mode of perception; it has also explained the relationship of such regression to the affective quality of the text, as well as to our cognitive characterization of poetry and how the relationships can be further pursued, so as to relate the texts to the effects of period and style. In the present context, it also suggests how this difference may contribute to distinction between some permanent mood and an altered state of consciousness. One may, further, claim that it was the cognitive framework that suggested these linguistic tools for description; in a different frame of reference these descriptions would have appeared little more than trivial.
The involved approach can also amiably be possible through the integration of such popular music in the form of song lyrics as it posits poetical indication as reflection of cognitive poetics with such implicit assumption that the music speak of the listeners body as whereas the song lyrics speak of the listener’s mind true to its stance that lyrics are the integral part of musical experience, enhancing possibilities for listener to identify with the song. Ideally, such of its text might be abstract and does not inevitably construct explicit character as such. The fact that the sounds and words of text origin in other human beings are sufficient for us to experience the implicit body in that text. There is simple example involving written poem and its reader: In order to open herself to the poem, the reader will activate certain sides of her personality and experience. She constructs default reading body which she is prepared to bring into negotiation with the poem. More or less spectacularly, the default reading body enters in a dialogue with the imagined body in the poem. As a result, the reader is invited to develop her reading body, bring in new experiences, and activate new thoughts and emotions to bring into the dialogue.
Thus, if the poem is able to engage the reader, it can bring forth new insights and experiences through its encounter with the reading body. Then, for instance in another example below in form of a song lyrics:
Last Hero
The night is short, the goal far away
At night you often feel like a drink
You go out to the kitchen, but the water’s bitter,
You can’t sleep here, you can’t live here
Good morning, Last Hero!
Good morning to you and to all of your kind!
Good morning, Last Hero!
Greetings, Last Hero!
You wished to be alone but the urge quickly passed
You wished to be alone but you couldn’t face it
Your burden is light but your arm’s getting numb
And you meet dawn over a game of ‘fool’
Good morning, Last Hero!
Good morning to you and all of your kind!
Good morning, Last Hero!
Greetings, Last Hero!
In the morning you opt for a fast getaway
Telephone call’s like a ‘Forward!’ command
You go somewhere you don’t want to go to
You go there to find no-one’s waiting for you
Good morning, Last Hero!
Good morning to you and to all of your kind!
Good morning, Last Hero!
Greetings, Last Hero!
SOURCE: Cognitive Poetics in the analysis of Popular Music: A new approach to song lyrics?
The song lyrics as shown above, do construct an explicit body also such character, yet there is second body implicitly resides in the lyrics, which presents that character to the listener. This second, ‘invisible’ body constructs the image of the songs main character by the use of a self-inclusive ‘you’, as it often expresses fear of dehumanized machine society. In cognitive approach, the song cannot be studied as merely the vocal message of the singer, musically mediated by band. Since the vast majority of rock songs are not merely narratives, but character songs, the body in the lyrics is frequently constructed as a character that is in turn staged by the performer. The mood and message of the song is mediated through this imagined character. Consequently, listener perception is based on identification not only with an imagined body in the song, but with a fully staged fictitious character – an explicit image of human being. By turning attention towards the character in the song, it is possible to come closer to bridging the artificial gap between music and lyrics, between body and mind. A cognitive approach to popular music and its lyrics can help us reach a higher level of quality and ethics in quoting, describing and analyzing songs and their messages. There appears to be a lot to gain from turning to cognitive poetics for new resources and concepts when analyzing songs and their lyrics. In this manner, the responsibilities of literature studies in popular music analysis can be redefined. By concentrating not only on rhetorical and poetic structures in the lyrics, but on how these construct human like images with which we may identify, and which interact with other images in the creation of meaning, it can bring results which are more immediately relevant for the other disciplines involved in popular music studies. Cognitive poetics has to the best of my knowledge not yet been applied to the analysis of song lyrics on a larger scale. Yet, it might well expand and improve existing approaches to popular music and lyrics both within and beyond discipline of literature.
Cognitive poetics can be reading literature as the sentences may seem simple to the point that it can be trivial as the poetics is concerning on the craft of literature and that in order to understand what happens in literary reading and such part of literary text can be in natural phenomenon. The poem and its lines in particular can be purely in textual approach as the lines may create dactylic sense from within its syllables. As cognitive poetics offers us a means of achieving linguistic dimensions meaning, the readers can engage in precise textual analysis of style and its creative literary craft. Then, there is ways of describing and delineating such knowledge and belief in systematic way and how it connects to the matters of circumstance and be utilized within the language of literature and there is demonstration of continuous points between creative literary language and creative language for everyday use. So, it can be that cognitive poetics takes such context in a serious note having wide views of context that encompasses social and personal circumstances. In fact, cognitive poetics has the potential to offer a unified explanation of individual interpretations and those shared assessments from with culture and such groups. Thus, concerned with literary reading, cognitive poetics provides value to such interpretations and how such manifestations made by the reader are being manifested in textuality and the poetics is not simply shift of emphasis but adheres to the evaluation of literary activity and its underlying process as a whole. It is amiable to consider that such poetic in its texts have no predictive power as it can be held honestly and cannot viewed with direct assessment as the idea of poetic framework is essential as the discussions will systemically continue in basis of common language in awareness of such proposition there is in cognitive poetics as it can either be limiting and deterministic approach which posits several interpretations as valid allowing such understanding of the textual variations to be substantial in its patterns of organization. Indeed, it is real that such interesting assumption regarding poetics of today is that, there implies a state of excitement and such unscripted development into a more desired creative direction and posits of literature and so, literary texts found in such structure of poetry does provide such essential feature in helping language cycles to have a more justifiable recognition in the field of language construction as for instance, modern prisms in the English language and literature for a sound development and realization of its stance for positively impacting the society and the everyday life of the people.
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