Dear SunWinkers!
Last week, we looked at figures of speech, or rhetorical figures. They included anaphora (beginning a series of sentences or clauses with the same word or phrase), enallage (being effectively ungrammatical), and periphrasis (using more words than you have to).
In previous columns, I’ve talked about the music of poetry. The music of poetry goes back to a day when there was no such thing as music. St. Augustine’s De Musica (“On Music”), written around 390 A.D., actually treated the subject of what we now call poetic meter. Musical melody as we know it today came centuries later, and harmony years after that. So, meter is part of the music of poetry, not strict meter necessarily these days, but the feeling of rhythmic pulses, and meter implied, manipulated, and thwarted.
Diction and alliteration exemplify another aspect of music in poetry. The poet manipulates and takes advantage of the sound of language to make it grating, mellifluous, or narcotic, just as a composer uses harmony to make her music harsh or euphonious.
Quinn begins with the example: “We was robbed!” That’s the rhetorical device of enallage, which just means being effectively ungrammatical. (As the saying goes, “The Greeks have a word for it.”) Now, if Joe Jacobs, professional fight manager, had said in 1932, “We were robbed!” would anybody remember that? I doubt it.