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Introduction
According to many other functional linguists, anthropologists, sociologists as well as a philosopher of language, language study can not be successfully fulfi|led without considering the situation of context, for it is constrained and influenced by the situation of context.
These practitioners all stress that the study of words, utterance, even whole chunks of discourse, can not be understood well or appreciated well without the connections of the contexts among them, that is to say, the study of words, utterance, the whole chunks of discourse, is insufficient for full can only be understood in an understanding or appreciating of them.
The given context. The context of situation obtained "Through a systematic relationship between the social environment on the one hand, and the functional organization of language", on the other hand, which can be best understood in terms of "register".
Register, a semantic concept, in very important because it is seen as the linguistic consequence of interacting aspects of context. These aspects are "field, tenor, and mode". Field refers to the topics and actions which language is used to express, tenor indicatės the language users, their relationship to each other, and their purpose;
And mode stands for the channel through which communication is carried out. These three Contextual features of variables are intended to help us link the linguistic analysis to the relevant contextual factors. From the perspective of these three interacting aspects of context, this answer will analyze the stylistic features of the poem Neutral Tone written by Thomas Hardy as a piece of literary work.
Neutral Tones
(1) We stood by a pond that winter day, (2) And the sun was white, as though chidden of God, 3) And a few leaves lay on the starving sod: They had fallen from an ash, and were grey (5) Your eyes on me were as eyes that rove, (6) Over tedious riddles of years ago; (7) And some words played between us to and fro,(9) the smile on your mouth was the deadest thin8 (10) Alive enough to have the strength to die, (11) And a grin of bitterness swept thereby, (12) (13) Since then, keen lessons that love deceives, (14) And wrings with wrong, have shaped to me, (15) Your face and the God-curst sun, and a tree, (16) On which lost the more by our love. Like an ominous bird a-wing... And a pond edged with greyish leave
See Also
Field, Tenor and Mode of the Poem
The discourse of any kind of materials can be presented by the con ot Situation, which can best be understood in terms of three features: ie r, and mode. The three features are meaningful in constructing a Ta about tests reasons and purposes, as well as its structure and adequate use of language in the text. The text's function (of language) 1s the most important fact, therefore, field, tenor, and mode can provide a straight view upon the languages itself and its function and structure.
The field of the poem Neutral Tones is expressed as a verbal art. It represents a ruined and failed love story. The scenery described in the poem, the speaker's mood, the relationship between the two persons, the speaker's memory as well as the "lessons" drawn by the speaker all from a sub-field.
The tenor is expressed through interpersonal function. In the poem, the relationship between the speaker and the woman is expressed through the pronouns "we", "you" and "me".
What has happened between the speaker and the woman? What tones (attitudes) does the women take towards the speaker? How does the speaker think of the woman? Why does he talk about the past experience when probably the lover ("you") is no longer present? All represent the interpersonal relation, and the tenor of the poem is realized through all these "with" questions.
The mode is expressed through the textual function. It is a lyrical poem. It has several images: the image of colour, the image of winter and the image of death. It also has a metric pattern of stanza-line-foot-syllable, in which the rough-hewn rhythms are combined
Thomas Hardy was one of the most successful novelists of the nineteenth century, writing challenging and popular stories such as Tess of the d'Ervereilles and Jude the Obscure, which explore the depth of emotions in human relationships within the setting of the natural landscape.
He was better known for his poetry after 1900, which shared these major themes, but he continued to write poetry throughout his life. This poem was written in 1867 when she was 27 years old and is likely based on her own experience.
Tone
The title suggests that the poem is not filled with overbearing emotion or a painful heart: the tone of the author is "neutral" and undemocratic, as the tone of the two lovers was likely during their discussion.
One of Hardy's ways of achieving "neutrality" is by detailing the setting in brief, simple phrases that construct a picture without detailing or describe the person he addresses. For example, after the first line, which sets out a very plain view on the day that the poet expects his listener to recognize ("that day"), Hardy adds a description like the one following it, " And the sun was white ", and then another," and some leaves are asleep hungry ".
He uses specific determinants like "something" and "something" to show that he didn't care enough to count or remember details - or perhaps memory is too painful for him to try to remember details. The When he says, "And some words played and burst between us" it seems as if his lover's eyes and his walk were the main event and their conversation was just an additional detail, words of which he is not yet interested in. . These were words that brought an end to their love when they discussed with both of them who "lost more than our love".
Natural and colour imagery
Another meaning of the title is "weak colors" and if we list the colors in the poem we find simple colors drawn from a very restricted palette: "white", "gray" and "greyish". Yes, all these colors match the setting for "that winter's day", but Hardy is using his editor's privilege to show his readers what it is like to make sure the natural world is the heart-breaking couple's. Reflects dull, dead emotions.
Hardy is rightly renowned for his power of observation. The leaves of ash trees, when they fall, are actually brown, not brown. This not only complements his rhyme scheme (and continues his color scheme) but proves that he is quicker to remember the details of the surroundings than the content of the dialogue.
The lover's smile is almost brought to life - but in the weakest possible way. This is called the "deadliest thing". Not only is this smile fake, but it seems to ruin life from the things around it. The "grin" that passes over his face probably reminds us of the skull grin, in reference to the morbid dialogue, and the bird he compares to is the "inauspicious" bird to point to a person A soot vessel must have read. Fate or doom.
Language
The poet uses many words which have old meanings. Hardy was very interested in the origin of words and the history of the language. He can add overtones to his writing using these meanings.
For example, in the fourth verse they state that since walking through the pond, they have experienced "deep teachings they love". The original meaning of "Keen" was "sharp", so the poet is describing the "lesson" as "biting" and stating that he now believes that love boggles the lover.
"Chidden" is the previous participle of "to chill", meaning "to reprimand" or "to tell off". By using slightly archaic verb forms like this, Hardy can enhance the tone of his poem to sound more timeless and more serious.
He does the same thing to tell God about this remembrance, and when he refers to God it is specifically as a judge: God "carries" the Sun and "curves" the Sun Huh. In Hardy's writings the figure of a wrathful deity beyond the natural world, diminishes hope from the situation.
'Hungry thirsty' is not only a powerfully animated noun phrase that adds to the feeling of coldness through its sibling; "Staying hungry" means "starving" or "starving", but it meant "dying" for whatever reason and is much more than it is nowadays. There was no way to "starve", like this. There is no way for a relationship.
Memory
In Hardy's re-telling, these events have been bleached for his entire life. He remembers only a few details and has been "shaped" by Hininahana and his cynic. This means that when he returns to his visual imagination at the end of the poem, he only becomes stricter. Now the sun is "curved", not just "hidden".
The form poem has four lines of four lines - Yatras. They are sung in the ABBA pattern, associated with Tennyson's In Memoriam, published in 1949. Hardy certainly knew about the best-selling Ellie, but he has adapted the look: every four IV beats
Form
The four lines of the poem have four lines - Yatras. They are sung in the ABBA pattern, associated with Tennyson's In Memoriam, published in 1949. Hardy certainly knew of the best-selling Allie, but has adapted the look: instead of using four lines for every four IV beats), he shortens the fourth, so it only has three There are strong beats (a trimmer).
The pattern of three iambic quadrants after a trimmer was common in folk poetry and when ABAB or AXA is sung, it is known as the 'long meter'. However, it does not even fit Hardy's metrical scheme. Through his career he was a new innovator of all great forms, often experimenting with new patterns and rhythms to see what effect his writing would have. In the case of neutral tones, ABBA's arc-rhyme scheme achieves homogeneity of an ellipse, while a rhythmic pattern similar to a long meter helps to tell the story in simple language.
- Tolerance - Use of 'wet' and C dishes
- A friend or lover (or sometimes the end of a relationship)
- Quadrameter trimmer - a line with three strong beats or traces
- Iambic - Rhythm that weakens then alternates strong beats (like "About the city I like to go").
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