Breaking the rules of grammar
Introduction
Grammar rules are the foundation of language, and we learn these rules from a young age. However, sometimes it's necessary to break the rules to bring life to our writing and artistic expression. It's not about ignoring the rules completely, but rather bending or adapting them in creative ways.
In poetry, breaking the rules of grammar can create a sense of rebellion, emotion, and individuality. In this article, we will explore the different ways in which poets break the rules of grammar to add depth and complexity to their work.
Split Infinitives
One of the most well-known "rules" of grammar is to avoid split infinitives. An infinitive is the base form of a verb, such as "to run" or "to sing". The rule states that the infinitive should not be split by an adverb, such as "to boldly go" instead of "to go boldly". However, poets often split infinitives deliberately to emphasize the adverb and create a sense of urgency.
For example, in his poem "The Love Song of J. Alfred Prufrock", T.S. Eliot writes, "To have squeezed the universe into a ball". The split infinitive emphasizes the act of squeezing and gives a sense of tension and gravity to the line.
Run-on Sentences
Another rule of grammar is to avoid run-on sentences, which occur when two or more independent clauses are joined without proper punctuation. However, poets often use run-on sentences to create rhythm and give a sense of breathlessness to their work.
For instance, in her poem "i carry your heart with me", E.E. Cummings writes, "i am never without it (anywhere / i go you go, my dear; and whatever is done / by only me is your doing, my darling)". The run-on sentence conveys the idea of two beings intertwined and inseparable, without pause or interruption.
Breaking the Rules of Capitalization
Capitalization is another rule of grammar that poets often break. In poetry, proper nouns and capital letters can create a sense of formality and rigidity. However, ignoring these rules can create a sense of intimacy and informality.
For example, in his poem "i carry your heart with me", E.E. Cummings writes the title in lowercase letters, which creates a sense of humility and understatement. Moreover, he capitalizes words and phrases to create emphasis, such as "the moon's / always being / with / what(ever / we are) / and / everything's / always been / the way / it is".
Negative Constructions
In standard grammar, negative constructions are made by placing "not" after the auxiliary verb, such as "I do not sing". However, poets often invert this construction for artistic effect and to create a different sense of emphasis.
For example, in his poem "Do not go gentle into that good night", Dylan Thomas writes, "Though wise men at their end know dark is right". The inversion of the negative construction creates a sense of defiance and rejects the notion that darkness is inevitable.
Conclusion
Breaking the rules of grammar can add depth, complexity, and emotion to poetry. It's important, however, to understand these rules and how they are being bent or adapted. By doing so, poets can create powerful and memorable works that challenge our perceptions and inspire us to see language in new ways.