tailieunhanh - Introdungcing English language part 21

Introdungcing English language part 21: 'In this exciting new textbook, Louise Mullany and Peter Stockwell have provided a fresh and imaginative set of alternatives for teaching and learning a huge amount about the English language. The book allows tor creative and lateral approaches to developing an understanding of important linguistic concepts and, together with the thought-provoking activities, and accessible readings, guarantees there is something to stimulate every learner. | B11 106 DEVELOPMENT ASPECTS OF ENGLISH is presented is to encourage thoughts of the unsaid opposite best then hints implicitly at the worst . The choice of register is not just simply poetic but highly selfconsciously poetic. The poem even begins with a semantic and syntactic trap for the reader She walks in beauty is semantically odd and its odd distraction is partly what causes the vast majority of people reading the whole line out loud to pause at the end of the line. She walks in beauty like the night is then ambivalent between beauty being like the night or she being like the night and the night is conventionally the time of mystery edginess danger and illicitness. Though the next line rescues the sentiment the fleeting effect has already occurred. Similar suggestive effects permeate the poem as in the invocation of darkness and shadow. There is a sense of vagueness and underspecificity in lexical choice nameless grace dwelling-place and especially suggestively all below - these are taken as idealisation of beauty in the traditional interpretation but they could equally be read as being euphemistic and evasive on the part of the writer. The writer s voice and perspective provide the content of the first two stanzas but the observing consciousness is not foregrounded. However this changes in the final stanza with the distal deictic that that cheek . that brow signalling strongly - again by implicit contrast - the deictic centre of the writer where this would be located. He draws attention to the inarticulacy of his viewpoint so soft so calm and even highlights the issue itself in invoking the word eloquent . The writer in fact enters into the poem towards the end as more than a mere neutral observer as an evaluator with his own agenda. The iambic tetrameter which looks so innocuous was also prototypically the form of ancient Greek dialogue and the most famous example of the form is the dialogic and seductive opening to Christopher Marlowe s The Passionate .