Stylistics Nissim Ezekiel Analysis

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The present paper deals with the study of “Stylistics in Nissim Ezekiel’s Corpus.” The stylistics is a meeting ground of language and literature. It is the study of the use of language in literature; the study of language as a complement and aid to the study of literature; a characteristic manner of expression; how a particular writer or speaker says things. It is such a part of linguistics as concentrates on variation or innovation in the use of language. Stylistics is not a stylish word, but it is well connected. The true nature of it is elusive and needs subtler net to catch the variations. Thus a detailed stylistic study of Ezekiel's poems reveals interesting features of his poetic language and style. The focus has been on how he has managed…show more content…
Key words: stylistics, grammatical, polysemy, classic, figurative

Stylistics in Nissim Ezekiel’s Corpus
The stylistics is a meeting ground of language and literature. It is the study of the use of language in literature; the study of language as a complement and aid to the study of literature; a characteristic manner of expression; how a particular writer or speaker says things. It is such a part of linguistics as concentrates on variation or innovation in the use of language, often, but not exclusively, with special attention to the most conscious and contemplated use of language in literature. Stylistics is not a stylish word, but it is well connected. The true nature of it is elusive and needs subtler net to catch the variations. Thus a detailed stylistic study of Ezekiel's poems reveals interesting features of his poetic language and style. Style is "a characteristic way of deploying the transformational apparatus of a language." An author's stylistic preferences are highly significant because, as Ohmann points out, they "reflect cognitive
…show more content…
There, of course, reflects the conventions of the 1950s, when most poets of the English-speaking world would have an interest in low toned poetry and carefully work in traditional metrical and stanzaic forms. Auden, Emerson, Graves, Yeats, Eliot and Frost were looked to for inspiration and imitation. Many kinds of traditional forms were rediscovered and employed as sestinas, villanelles, etc. Not only this. The finicky use of metre, rhyme and stanza-form are there for better understanding of ironic modes. His style has the seeds of the traditional, the transitional and the new style. The traditional style lies in “First follow Nature”. In the transitional style, there is a clear attempt to loosen the ties of exact form; where mind inclines to some earnest business and “Bold adventures disdain / The limits of their (classical writers) little reign (Brackets mine).” And in the new style, the poet's own voice finally breaks through to descry unknown regions and

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