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Image, Metaphor, Symbol, Myth 199<br />

lacks expressive function. Thus, under any traditional system,<br />

rhyme and alliteration are both phonetic "schemes," acoustic<br />

ornamentations ; yet both initial rhyme and end rhyme can serve,<br />

we know, as sense binders, as semantic couplers. The nineteenth<br />

century regarded the pun as a "play on words," the "lowest form<br />

of wit" j the eighteenth century had, with Addison, already clas-<br />

sified it as one of the species of "false wit." But Baroque and<br />

modern poets use it seriously as a doubling of ideas, a "homophone"<br />

or "homonym," a purposed "ambiguity." 23<br />

Leaving the schemes aside, we may divide the tropes of poetry<br />

most relevantly into figures of contiguity and figures of simi-<br />

larity.<br />

The traditional figures of contiguity are metonymy and synec-<br />

doche. The relations they express are logically or quantitatively<br />

analyzable: the cause for the effect, or the contrary ; the con-<br />

tainer for the contained; the adjunct for its subject ("the village<br />

green," "the briny deep"). In synecdoche, the relations between<br />

the figure and its referent are said to be internal. We are offered<br />

a sample of something, a part intended to stand for its whole, a<br />

species representing a genus, matter betokening the form and<br />

use to which it is put.<br />

In the familiar passage from Shirley illustrative of the tradi-<br />

tional use of metonymy, conventional accoutrements—instru-<br />

ments or tools—stand for social classes<br />

Sceptre and crown must tumble down<br />

And in the dust be equal made<br />

With the 'poor crooked scythe and spade.<br />

More striking is the metonymic "transferred adjective," a sty-<br />

listic trait of Virgil, Spenser, Milton, Gray, classical art-poets:<br />

"Sansfoy's dead dowry," shifts the epithet from possessor to<br />

thing possessed. In Gray's "drowsy tinklings" and Milton's<br />

"merry bells," the epithets refer to the wearers and the ringers<br />

of bells respectively. When Milton's gray-fly is "winding her<br />

sultry horn," the epithet calls up the hot summer evening linked<br />

by association with the sound of the gray-fly. In all such cases,<br />

cited out of their context, another, an animistic, kind of reading<br />

seems possible. The distinction lies in whether associational logic<br />

is operative, or whether, instead, a persistent personalization.<br />

:

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