Textual Analysis Of Early Modern English

Textual Analysis Of Early Modern English The text is from a collection of poems in The Phoenix Nest, which has been extracted from the book The poem of Sir Walter Ralegh. The Early Modern English poem is fourteen lines long and is quintessentially a self-pitiful venture to remind the poet himself of his lifetimes dashed reputation and respect as a result of his profound mistake. The poet, Sir Walter Raleigh, became a favourite of Queen Elizabeth the First after conveying, on a number of occasions, his abhorrence towards the Catholic Church but also due to his exceptional services to the state. Nevertheless, Queen Elizabeth had Walter thrown into prison after acknowledging his love affair with one of her Maids of Honour, Bessie Throckmorton. During this period of humility, Walter wrote the poem Farewell to the Court in 1593, which is in essence an unforgettable embittered poem that insinuated the Court did not aid him is his dilemma, although he had unquestionably devoted his lifetime in working for the Court. On a less subt le basis, the poem is concerning the poets despair, his contemplation on the wrongs committed and his hopes for fortune to come sooner than later. Sir Walter Raleigh was born at Hayes Barton, which is near the village of East Budleigh, Devon, England. Language scholars claim that the poet retained his strong Devonshire accent, although he came into contact with numerous regional accents all over England, including the prominent accents of London. However, apparently the poets accent was not discriminated in London. Furthermore, before the fifteenth century, when English had been standardized thanks to the Black Death (where the economy experienced a significant drop in population-size) and to Caxton (who introduced printing in 1476), there were several regional standard varieties of English. However, by the fifteenth century, the London regional standard was recognised as the only standard in England due to urbanisation and excessive economic growth in London. Analysis According to Smith (1999:128) v and u were used interchangeably in a word to represent both a vowel and a consonant. Therefore, v was generally used in initial position, for example, vnknowne (line 6) whereas u was generally used in all other positions, for example, truthles (line 1). However, there are evidences in the text that explicitly indicate inconsistencies in the orthography and the fact that the poet does not conform to the written spelling conventions. In the poem, v is utilized in all positions of a word, for example, the non-initial position in the word covrt (title) and the initial position in the word vnknowne (line 6) whereas u is utilized in all non-initial positions of a word, for example, the vowel occurs in the second syllable of returne (line 2) and in the first syllable of loue (line 3). Furthermore, according to Smith (1999:128), the final -y (in present day English) was orthographically represented by -ie, for example, staie (line 12). However, there are obvio us evidences in the text that similarly signify inconsistencies in the orthography and the fact that the poet does not implement the written conventions. In the poem, the final -y is unsystematically transcribed in various ways, such as: -ye (e.g. ioyes (line 1)), -y (e.g. my (line 1) and onely (line 4)), -ie (e.g. daies (line 2), fancie (line 3), staies (line 4) and waies (line 6)) and -ey (e.g. countrey (line 9)). Nevertheless, the discrepancies in the orthography may have transpired as a result of several reasons, such as: variation in regional dialectal (which would explain why there are numerous forms representing the final -y), written errors made by the scribe (which would explain the form -y being mostly represented by -ie), later modifications made by the editor in order to enable contemporary readers to comprehend the poem (which would explain why the word expired (line 1) is not spelt in its Early Modern English original form expird) or, a more straightforward reason woul d be, the poet felt exercising his own hybrid written conventions were more appropriate (which would explain the use of both regional and standard forms to represent one morpheme/syllable) than implementing the standard spelling system, particularly for a personal poem. Hence, although London English had become the standard variety in England, the latter justification would suggest individual writers had the propensity not to exploit the standard orthography during this early period when Standard English was yet considered not authoritative enough to cause national change in the spelling system. Smith (1999:130) alleges that, with respect to Early Modern English (EModE) pronunciation, although there were accentual variations in England, there was a fairly close correlation between a written letter and a spoken sound segment. However, there are evidences in the text that contradict this theory. For example, the vowels in the words life (line 7) and sweete (line 11) are orthographically realized as i and e, respectively. By contrast, the vowels are phonemically realized as / Ã¢â€š ¬Ã‚ Ã¢â‚¬ °/ and /i:/, respectively. These examples clearly prove that in Early Modern English there was no direct correlation between orthography and phonology, particularly in this poem if not generally in the 16th century. This notion is further reinforced by the fact that Middle English had undergone major transformations in the fifteenth century (Strang 1970:165-172), whereby the language experienced the Great Vowel Shift, the inclusion of new phonemes (such as: / -/ and / Ã… ½/) and t he obsoleteness of various phonemes (such as / Ã‹Å"/). Hence, due to the fact that the poem is not phonemically transcribed, one cannot distinguish whether or not the poets accent had any linguistic effect on the poem. There is a significant number of words in the poem, approximately 25%, that are not Old English in origin but instead derive from various languages, such as: Germanic (e.g. dream), Old French (e.g. joy), Latin (e.g. expire), Greek (e.g. fantasy), French (e.g. retrieve) and Old Norse (e.g. wail). Although sixteenth century England experienced a dramatic increase in the number of loan words (more than any previous century) particularly from French, the percentage of non-Old English lexical items used in the poem is, nonetheless, extremely high. However, the use of what was classified as inkhorn terms (the pompous terminology of the over-learned) was probably used subconsciously if not intentionally by the poet in order to convey his retaliation towards the state, for unjustly imprisoning him in the Tower of London, by subtly advocating the encouragement of foreign influence. Conversely, the latter notion can be bypassed by the fact that a large number of words in the poem, approximatel y 75%, were Old English in origin. Furthermore, although the poet was not a purist (a writer who attempted to replace loans words with Old English poly-morpheme equivalents, for example, unthroughfaresom was used by purists as a substitute to impenetrable), the poet uses the Old English word loue (line 3) rather than the Neo-Latin alternative druery. Nevertheless, one may argue that the Neo-Latin term was not exploited in the poem because, by the 16th century, it was considered somewhat archaic. Hence, linguists argue that the vocabulary generally exploited by writers were predominantly Old English, except in the rare occasions where purist (such as Edmund Spenser) attempted to use all Old English based words whereas neologisers (such as Sir Walter Raleigh, but only in a short period of time) attempted to use as many loan words as possible (Smith 1999:153-4 Strang 1970:184). With respect to syntax, according to Smith (1999:142) Early Modern English is very similar to present-day English because it follows the same word order pattern (subject-verb-object), for example, the sorrow onely staies (line 4) incidentally there is no object because the word stay is an intransitive verb. Furthermore, the pronouns whose/whom can be used as a relative pronoun by occurring in initial position, which was a distinct feature since late Middle English, for example, whose sommer well nie don (line 11) and whom care forewarnes (line 13). However, although SVO was the unmarked word order in the 16th century, there are instances in the poem where a clause may be missing a grammatical function (i.e. the subject), for example, the clause to haste me hence (line 14) only consists of the non-finite verb followed by the object, which indicates development from Middle English to early 16th century. Nevertheless, the word order SVO is maintained and such peculiarity was typically found in poetry (due to stylistic reasons) rather than prose. With respect to morphology, the morphological system of Middle English has been largely preserved in Early Modern English (Smith 1999:134-141), such as: the plural marker -s on nouns (e.g. dreames (line 1), ioyes (line 1), etc.) and the predicate agreeing with its subject both in person and number (e.g. there is number agreement in Like truthles dreames, so are my ioyes expired (line 1)). However, the most idiosyncratic morphological feature in the 16th century is that an apostrophe is never used to indicate the genitive case, for example, in the phrase my life in fortunes hand (line 7) there is no apostrophe after the last vowel in the word fortunes, which would be present in present-day English. Nevertheless, apart from the excessive growth of compounding (e.g. forewarnes (line 13)), the poem has more or less preserved the morphological and syntactic properties of Middle English. The poet repeatedly emphasizes the refrain Of all which past, the sorow onely staies (line 4) in order to convey he is pessimistic and depressed by the fact that time passes by and the only thought that crosses his mind is the idea of eternal loneliness and sorrow. Furthermore, the poet does not in any way imply he apologizes for his mistake but instead insinuates he has been misled. This implicit meaning may account for the use of the rhyming scheme ABAB, which differentiates the rhyming couplet A and B in other words, the rhyming scheme is used as a metaphor to suggest that the poet and his lover, Bessie Throckmorton, are probably never meant to be together. Conclusion The poem Farewell to the Court by Sir Walter Raleigh illustrates the fact that, by the sixteenth century (i.e. Early Modern English), the orthographic and phonological systems of Middle English underwent major transformations, so much so that the correlation that existed between the two linguistic features had deteriorated significantly. Furthermore, during this period where the London English regional variety was recognised as the only official standard in England, the standard was not authoritative enough to initiate national change among writers (including Sir Walter Raleigh), although Caxton introduced spelling norms with his mass printing. Conversely, as the language acknowledged one official standard (rather than several regional standards), the basic syntactic and morphological properties of Middle English (which are implemented the poem) were sustained throughout Early Modern English to present-day English. Hence, the language of the poem explicitly depicts the fact that Earl y Modern English was linguistically extremely similar but not homogenous to present-day English (orthographically, phonologically, morphologically and syntactically).

Relationships and Attraction

From the beginning on time, being around others makes us feel affiliated. It is human nature to form relationships with people who attract us. As human beings, there has always been a desire to form relationships. The lack of relationships and bonds with other individuals can lead to negative feelings, such as loneliness. In order to figure out the need to form bonds we must analyze the benefits and factors of attraction and relationships. There are six factors that describe attraction. The mere exposure happens when we are around someone or something so much, we grow fond of it. For example, you go to training classes for your new positions for the next 4 weeks. When you are hired you are more likely to hang around the people who sat closest to you during your weeks of training. We are more attracted to individuals who are attractive. In a study that evaluated attraction bias and the effect it had on hiring managers, 112 managers were given four potential candidates resume and pictures to go over. The managers chose candidates who were more attractive (Marlowe, Schneider,& Nelson, 1996). We are attracted to individuals that we can relate to. For example, advocates for PETA and a person who works on a slaughter farm are less likely to be associated with each other. Along with being attracted to those we relate to, we are also attracted to individuals we look like. For example, in a room full of Hispanics and Blacks, Hispanics are more likely to mingle with Hispanics; the same with black individuals. We are less likely to befriend someone of another culture because of the factor, we are more attracted to individuals we look like. Feenstra also suggest we like individuals who are had to get because â€Å"they are selective in their social choices† (Feenstra, 2011, Ch. 3. 1, â€Å"We like Those Who Are Hard to Get†). If we can form a bond with this individual, it can possibly boost our self esteem because of the exclusivity of the relationship. Humans are more likely to be attracted to individuals they can benefit from. This involves equity. Equity in relationships is receiving back from your partner what you p ut in. A relationship can be under-benefited or over-benefited. Under-benefited relationships involve someone giving more than receiving; and an over-benefited relationship involves receiving more from your partner than giving (Feenstra,2011). Bonds and relationships are natural instincts we as humans want to have. We have an innate need to belong. The need for frequent positive contact and the need for enduring connections marked by mutual concern for the welfare of the other are two parts of the need to belong theory (Feenstra, 2011). Our social bond, emotions, and fear of deprivation are all connected to our need to belong. Positive emotions stem from relationships we have with others. Not being able to form relationships and bonds with others may lead to negative emotions. Social bonds are formed quickly and easily (Feenstra, 2011). For example, you go to a job interview and before the interview you are waiting with a group of people also waiting to get interviewed. You are more likely to end up talking to someone who is sitting next to you. We need contact and attention from others so that we do not feel deprived. Mental illnesses and depression stem from deprivation. Love is a word that is often spoken, and has many different definitions. For example, I love the Atlanta Falcons versus I am in love with Johnny Depp. There are three types of love. Being in love suggest having a desire for someone. There are three types of love, they include: companionate love, compassionate love, and passionate love. Companionate love involves intimacy and commitment. This love can be described as a love you may have for friends and family members. . Trust and past shared experiences contribute to companionate love. Passionate love describes the â€Å"in love† kind of love and involves desire, emotional arousal, and physical attraction (Feenstra, 2011). For example, a man decides to ask his girlfriend to marry him because he is in love with her. Compassionate love describes the love you may feel for your mother. This love is broken into two parts: communal relationships and exchange relationships. In communal relationships things are done for an individual without expecting something in return. In exchange relationships things are done based on whether or not something will be given in exchange. Communal relationships are ones we more likely will have with our friends and family members. For example, if your child is sick you will take care of him or her regardless if they will give you anything back in return. Communal relationships deal with people who aren’t apart of your close friends and family social circle. In Figure 14. 1, Sternberg’s Triangular Theory of Love distinguishes romantic love from empty love. Sternberg’s theory describes romantic love as passionate and having intimacy . Empty love is described as having only commitment (Feenstra, 2011). Along with these two theories, Sternberg also lists other different components of love. Intimacy, passion, and commitment are all components that make up the kinds of love listed in the table. Intimacy is the closeness you may have with an individual. Its about opening up emotionally and trust. Passion is the emotional desire you have for you partner. Commitments are the decisions we make within relationships. For example, a decision to move to another state along with your partner after they accept a job offers shows your level of commitment to the relationship. We stay healthy by forming bonds with others. When we are deprived we risk depression and other mental illnesses that can have lasting effects on ourselves and others around us. The benefits of relationships show us why we form bonds with other individuals.

But These Things Also Essay

‘But these things also’ brings â€Å"to the centre of attention what has previously overlooked†, as Judy Kendall writes. Thomas explores his fascination with the unimportant in this poem and looks at the connection and merging together of Spring and Winter. Much like his other poetry, here, Thomas struggles to put his finger on precisely what he means. This is shown by his inability to separate and distinguish between the two seasons. The poem begins with the first two lines focussing on Spring, however, by following this with two lines focussing on Winter, Thomas explodes our first expectations of usual ‘spring poetry’ of bright and beautiful images. Instead, he catches the limbo between the two seasons and we are presented with the idea of the grass being ‘long dead’ and ‘greyer now’. This pessimistic tone is not what one usually connotes with springtime, but with the cold and bleak winter. By putting the images of the two seasons so close together in this stanza, Thomas reinforces his presentation of their connection. The last line of the stanza, ‘than all the winter it was’, changes the natural syntax of the words. The stress focuses of ‘it was’, emphasising what has past, which creates a sense of longing, introducing the idea that, like in ‘March’, Thomas is desperate to find ‘the key’ the last two lines of the first stanza finish with the words ‘now and ‘was’, bringing together images of the movement of time and emphasising the gap between the present and the past and importantly, Thomas’s focus on that gap. The second stanza uses inscape to look at things, which are seemingly unimportant. These things show the remains of winter, therefore connecting the seasons further. Once again, Thomas alters the syntax of the words to create a more beautified image.’ The word ‘bleached’ would usually have a much more negative connotation of fading and perhaps even the loss of hope, however By placing the word at the end of the first line and after the word ‘little’ he takes away the harshness of the sound and makes it more delicate and gentle. As well as this, Tomas’s use of enjambment stresses the soft ‘L’ sounds in ‘the shell of the little snail’, which further emphasises the smoothness of the words. Following this, the sexural pause halfway along the  second line, highlights the plosive sounds on the image of the ‘chip of flint’. This draws our attention to the minute details, which Thomas considers and accentuates the signs that spring is not quite here yet. By observing nature in this much detail, we see how valuable Thomas considers it to be, it creates a sense that although these things are small and often overlooked, they are significant. The final image in this stanza is of the ‘purest white’ bird dung. At first it appears odd to be beautifying such a thing as bird dung, but by following it with the words ‘purest white’, Thomas introduces an idea of innocence and positivity, as well as a contrast with the previous image of something ‘greyer now’. This brief glimmer of hope however, is shattered in the next stanza. In stanza three, the image of ‘white’ no longer has positive connotations, but it feels as if Thomas could be referring to the relationship between the colour white and death. This instantly darkens the tone and the notion of mistaking bird dung for violets presents the idea that Thomas is truly desperate for any indication of spring’s arrival. The following violent images of ‘winter’s ruins’ and ‘winter’s debts’ create an oppressive feeling which moves further from the previous idea of hope. Continuing the pattern of Thomas’s other poetry, the word ‘something’ appears ambiguous and vague, creating a sense that Thomas still isn’t quite clear on what it is we are paying ‘winter’s debts’ with. The final stanza of ‘But these things also’ begins to fill us with hope once more. The ‘chattering’ birds create a sense of rising morale and the idea of keeping their ‘spirits up’ sounds optimistic. Despite this, when we eventually think that Thomas is going to make a definitive statement, ‘spring’s here’ he reintroduces the feeling of ambiguity with the words ‘winter’s not gone’. This leaves the poem with a sense of not knowing and uncertainty. This reminds us of Thomas’s tendency to never give absolutes and that he likes balancing a positive idea with a negative. This paradox leaves us with the idea that the winter is preventing the spring from arriving. Throughout the poem, there is a regular rhythm, given by the Iambic  Tetrameter, which is occasionally shortened to show the indecisive and unclear seasons. There is never a climax during this poem due to it all being one long sentence. Robert’s talks about Thomas’s use of enjambment and fluidity, which gives a sense of him thinking and working through his thoughts.

Definition and Examples of Double Negatives in English

There are two different definitions of double negatives in English grammar: A double negative is a  nonstandard form using two negatives for emphasis where only one is necessary (for example, I cant get no satisfaction).A double negative is a  standard form using two negatives to express a positive (She is not unhappy). Examples of Double Negatives for Emphasis I wont not use no double negatives. (Bart Simpson, The Simpsons, 1999)Ther nas no man nowher so vertuous. (Geoffrey Chaucer, The Friars Tale in The Canterbury Tales)Nor never noneShall mistress of it be, save I alone.(William Shakespeare, Viola in Twelfth Night)You ain’t heard nothin’ yet, folks! (Al Jolson in The Jazz Singer)Badges? We aint got no badges. We dont need no badges! (Alfonso Bedoya as Gold Hat in The Treasure of the Sierra Madre, 1948)The world dont owe me nothing. (Delta bluesman Honeyboy Edwards)Listen here, Sam, this  wont do you no good, you know. (Judith Lennox, Middlemere. Hachette, 2004)I ain’t got no quarrel with them Viet Cong.† (Muhammed Ali, February 17, 1966, quoted by Stefan Fatsis in No Viet Cong Ever Called Me Nigger. Slate, June 8, 2016)June Cleaver: Oh Wally, I wonder if youd mind going to the supermarket for me.Wally Cleaver: Well, I guess I could. Im not hardly doing anything.June Cleaver: Wally, you never use not and hard ly together. Either youre not doing anything, or youre hardly doing anything.Wally Cleaver: Oh. I wasnt sure, so I stuck em both in.(Beaver Finds a Wallet. Leave It to Beaver, 1960) Mencken on Double Negatives Syntactically, perhaps the chief characteristic of vulgar American is its sturdy fidelity to the double negative. So freely is it used, indeed, that the simple negative appears to be almost abandoned. Such phrases as I see nobody, I could hardly walk, I know nothing about it are heard so seldom among the masses of the people that they appear to be affectations when encountered; the well-nigh universal forms are I don’t see nobody, I couldn’t hardly walk, and I don’t know nothing about it. (H. L. Mencken, The American Language, 1921) Definition #2: Double Negatives to Express a Positive It is hoped that American teachers may not find this Manual inappropriate to their use. (J.M. Bonnell, A Manual of the Art of Prose Composition. Morton, 1867)Mr. Sherlock Holmes, who was usually very late in the mornings, save upon those not infrequent occasions when he was up all night, was seated at the breakfast table. (Arthur Conan Doyle, The Hound of the Baskervilles, 1902)I know a college president who can be described only as a jerk. He is not an unintelligent man, nor unlearned, nor even unschooled in the social amenities. (Sidney J. Harris, A Jerk, 1961) Triple Negatives You better not never tell nobody but God. (Alice Walker, The Color Purple, 1982)We try every way we can do to kill the game, but for some reason, nothing nobody does never hurts it. (Sparky Anderson, quoted by George Will in Baseball Lit. 101, 1990) A Triple Positive I got interviews with all three remaining  residents, and one of them told me Ruth Singh had received a visitor that night. So it was worth going back. Information that could lead to an arrest, as they say.Yeah, right, thatll happen.Well done, Meera, a triple positive to make an emphatic negative—nice use of English.(Christopher Fowler, The Water Room. Doubleday, 2004) Quadruple Negatives Why, sir, I never knowed no manner o luck on no ship nowhen and nowhere, wi unmarried females aboard. (Lovepeace Farrance, quoted by George Choundas in The Pirate Primer: Mastering the Language of Swashbucklers and Rogues. Writers Digest Books, 2007)Right down on the ground his stick he throwed.And he shivered and said, Well, I am blowed.And he turned away, with a heart full sore,And he never was seen not none no more.(Robert J. Burdette, Romance of the Carpet)Proscriptions Against the Double NegativeMost kinds of double negative are inappropriate in spoken and written Standard English except in jocular use . . .. This was not always so, however, and the double negative remains one of the best illustrations of what was once a perfectly acceptable locution being driven by the decisions of grammarians, not out of the language, but out of Standard use. (Kenneth G. Wilson, The Columbia Guide to Standard American English. Columbia University Press, 1993)The prohibition on double negatives may have begun with Robert Lowth, an 18th century Bishop of London, who wrote A Short Introduction to English Grammar. In it he stated that two Negatives in English destroy one another, or are equivalent to an affirmative. Perhaps his high status as a bishop led people to believe that his strictures on language were divinely inspired. The ban stuck. In the late 19th century, for example, an educator commented: The student . . . is instructed how contrary to reason is a Double Negative. Yet it never entirely disappeared. It is still found in some varieties of English, as in the old music hall song: We dont know no one wot don’t want no nine inch nails. (Jean Aitchison, The Language Web: The Power and Problem of Words. Cambridge University Press, 1997)Like many rules that are apparently based on logic, the view that double negatives are illogical is an artificial  rule introduced in the eighteenth century. It first appears in James Greenwoods An Essay Towards a Practical Eng lish Grammar (1711), where we find the statement, Two Negatives, or two Adverbs of Denying, do in English affirm. As is usual in such works, no support for the claim is offered; it is certainly not based on practice, since double negatives had been common since Old English. (Simon Horobin,  How English Became English. Oxford University Press, 2016) The Lighter Side of Double Negatives Albert Collins: Im not sharing with no one.Gene Hunt: What is that, a double negative? Dont they teach you anything in nutter school these days?(Andrew Vincent and Philip Glenister in Life on Mars [UK], 2006)You shut up! You just shut up! Youre a nasty horrid person and we dont want you playing in our house! Alice is my friend!I wasnt doing nothing, I was only talking. I didnt touch nothing, I never--Thats a double negative! Youre a stupid uneducated little snot, and you live in a council estate, and youre not allowed to play with nice people! That was a double negative, Alice, did you hear it? Thats what happens when you ask them in. Youll be picking up all sorts of language.(Alan Coren, Baby Talk, Keep Talking Baby Talk. Chocolate and Cuckoo Clocks: The Essential Alan Coren, ed. by Giles Coren and Victoria Coren. Canongate, 2008)Dr. House: You two shower together?Dr. Cameron and Dr. Chase: No!Dr. House: Double negative. Its a yes.(Half-Wit. House M.D., 2007) Also Known As:  negative concord