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ABSTRACT
In The Phonology of English and Telugu Proverbs Series, in the first
paper (Bhuvaneswar 1998), it has been shown that the phonemic
systems, phonotatics, and phonetic realization of English and Telugu
phonemes in proverbs as language and in proverbs as a genre of
language provide empirical evidence for Ka:rmik Linguistic Theory.
It is found out that the figures of speech used in ordinary language are
also used in proverbs as a genre of language. In addition, it is also
found out that they are used in accordance with the application of the
dispositional principle of aesthetic appeal further angumented by its
creative extension on the basis of superimposition. As such, it
provides empirical evidence for Ka:rmik Linguistic Theory which
considers proverbs as Ka:rmik (dispositional) prototype – categorical
representational action of action. Finally, it will be shown that these
phonological figures of speech in proverbs can only be secondary
characteristics as they are not universally present in them across
languages.
I. INTRODUCTION
Phonological figures of speech are extensively discussed in proverb
literature. From a formal linguistic perspective, their structure has
been analyzed and various permutations and combinations that can
occur within the lexical and sentential constraints are explored. From
a functional perspective also, they are examined and found to be
useful mnemonic, entertainment, melodic, meaning-bearing and
emphasis/prominence creating devices. However, they have not been
motivated from a dispositional perspective. Such an approach will
provide a socio-cognitive linguistic and ka:rmik linguistic basis for
figures of speech in terms of their formation and application. What is
more, they will instantiate a very commonly observed phenomenon of
figures of speech, especially, in literature, as a product of certain
principles and traits operating in human behaviour across the
languages and cultures.
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In this paper, such a novel approach has been adopted to know more
about how proverbs are structured at the phonological level.
Let us take an example from our daily life to see how disposition not
only affects the manner of performing action but also its
conceptualization and structuration. Later on we will take the case of
figures of speech and see how disposition is critical in their
conceptualization, structuration and variation.
The students in a particular class are disciplined and polite. So, their
teacher likes them and therefore wants (desires) all of them to pass in
the examination - he is impelled by the emotion of love or liking for the
students and so he got this desire. As a result, he makes the
examination very easy (manner of action) so that all the students can
answer well and pass in the examination. Love or liking is a
dispositional trait. This is the motivating force that impelled the
teacher to make a choice of setting the questions (as easy) and later
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P A principle
1 2 3 n application
The general structural formula for the English syllable is C0-3 V C0-4 (i.e.
a cluster of up to three consonants followed by a vowel nucleus
followed by a cluster of up to four consonants)
Even though Leech has not mentioned about semi – pararhyme we can
also include that possibility as observed in the pair bus/buzz. However,
such a feature I think is not extended to rhyme in English. For
example, there is a semi – rhyme in the pair hid/bid.
beauty conscious and some are not. Again, each according to his taste
(i.e., disposition) considers what is beautiful and what is not.
A. ALLITERATION
According to Leech (1969: 91), alliteration is the parallelism which
consists in keeping A constant while B varies where A is the initial
consonant cluster and B the whole of what follows A, prior to the onset
of the next stressed syllable as captured in the following figure:
C V C …. C V C …. CVC
A B A B A B
11. If you are an anvil hold still; if you are a hammer strike hard.
12. The cat may look at a king, they say, but would rather look at
a mouse any day.
13. Don crow till yuh git out o’de woods;
14. Fresh air and sunstine and plenty of grace slam the door in
the doctor’s face.
15. He who commences many thing’s finishes but few.
16. Sit still in the boat that carries you across deep water.
17. The worst wheel makes the most noise.
18. A city that sits on a hill cannot be hid.
19. Telling lies is a fault in a boy; an art in a lover; an
accomplishment in a bachelor; and second nature in a
married man.
20. All are good girls but where do the bad wives come from?
21. Don’t stick your hand in boiling water to see if it is hot.
B. RHYME
In rhyme, parallelism is obtained by keeping B constant and varying A
in the figure… mentioned in alliteration. Rhyme is considered as a
basic component of verse form and is achieved by a correspondence
between measures rather than syllables. Generally monosyllabic
rhymes are in the majority but there is a possibility of two syllable
rhymes (‘feminine’ rhymes) such as better/splutter,
stationary/inflationary. According to Leech, “various types and
degrees of ‘imperfect rhyme’ have been accepted in English verse –
particularly in light verse, where virtuosity in solving, or roughly
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There are two types of rhyme which are cognized in poetry: end
rhymes and internal rhymes. For example, in the off quoted stanza of
Coleridge’s quoted kubla khan below we find both the internal and
external rhymes:
a. Internal Rhyme
30. What can’t be cured must be endured
31. Fool’s names and fool’s faces are always seen in public
places.
32. When the cow is in the clout, she’s soon out.
33. Life is hard by the yard but by the inch life’s a cinch.
34. He that speaks ill of the mare will buy her.
b. End Rhyme
35. Pride goeth forth on horseback, grand and gray
But cometh back on foot, and begs its way.
36. Knowledge talks lowly; ignorance talks loudly
Men seldom make passed at girls who wear glasses.
37. Do right and feat no man
Don’t write and fear no woman
38. The Wrong shall fail, the right prevail
39. Small head little wit, big head, not a bit.
We also know that alliteration and rhyme can also occur together in
the same proverb. In fact, many figures of speech can be co-occur
within the same proverb making it more ornate. For example, in “when
the cow is in the clout, she’s soon out”, there is both semi –
alliteration(cow ….clout) and internal rhyme (clout …out). Since out
has no consonant at the onset, it should be considered a case of zero
realization.
On the other hand, in the final rhyme (‘rhyme’) the emphasis shifts
from the first to the second phoneme and again from the second to the
third phoneme from the vantage point of initial rhyme. So it becomes
ra:jasik-ta:masik (-ta:masik) action if we show the third order delicacy
of the operation.
What is more, any action can be turned from one state to another state
either by activation expansion) or inertialization (contraction). That
means a sa:ttvik action can be expanded into a ra:jasik action or
contracted into a ta:masik action. In a similar way, a ra:jasik action
can be reduced to a ta:masik action via sa:ttvik action and a ta:masik
action can be expanded into a ra:jasik action via sa:ttvik action. A
sitting man can stand up and walk and finally run and vice versa by
expansion and contraction of action. These are all general
dispositional traits which are equally shared by all the three types of
mental, vocal, and physical actions of human beings. That is the
reason why we see so many changes in languages whose root cause is
in SVABHA:VAM. That is why there is Happy tensing or smoothing or R
Dropping, insertion and retention and so on and so forth.
Finally, in human beings all these three states of sattva, rajas, and
tamas are ever present but in different degrees and stages. In some,
sattva will be dominant; in others rajas or tamas. Again, the same
stage may not be there constantly throughout life. If fluctuates as the
individual makes dispositional couplings within oneself to react with
the environment. Let us take some examples to show the presence of
assonance and consonance in proverbs.
2. ASSONANCE
40. Never cast an anchor in shifting sand.
41. Cards and dice is like all in life; dey (they) ever falls (fall) well for
bold
players
42. A fool’s name, like a fool’s face, is always stuck in a public place.
43. Blame is safer than praise.
44. The big fish eat the little ones; the little ones eat shrimps, and the
shrimps
are forced to eat mud.
45. Haste makes waste.
3. CONSONANCE
45. Don’t sit around and talk about what you are going to do – do it.
46. Put not your trust in money, but put your money in trust.
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2. PARARHYME
58. Rest, rust, rot.
59. You must cut your coat according to your cloth.
60. A dead man tells no tales.
61. No mill, no meal; no will, no deal.
62. You can’t make a good coat out of bad wool.
63. Speak, spend, and speed, quoth John of Bathon.
Let us take a few examples from proverbs and see how this enactment
of sense is dispositionally perceived.
In the proverb “The buzz of a mosquito can drown out the ocean’s
roar”, the buzz of a mosquito admirably enacts the sense of ‘can
drown’ ‘the oceans roar’. Here the phrase ‘ocean’s roar’ can be
contextually heard as the breaking sound of sea waves and ‘can
drown’ be heard as the sound produced when one is drowned with the
highly onomatopoeic buzz. One must have an experience of listening
to the mosquito’s buzzing and the ocean waves breaking loudly to
establish the pathways of empathy and synaesthesia in the proverb
with the activity. The fore grounded repetition of the consonants
r…..r… and n….n…n (also in consonance) and the onomatopoeic words
buzz and roar bring forth the mimetic power of sounds enacting sense.
73. If you drive don’t drink, if you drink, don’t drive.
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In (72) Faults are thick when love is thin, the initial rhyme (reverse
rhyme as in Leech’s terminology) establishes a bond between thick
and thin and brings in chiming of a different order.
In Telugu, all these figures of speech are used, some times with more
frequency than in English. For example, alliteration is much more
common in Telugu proverbs than in English. In addition to it, many
Telugu proverbs contain conditional and conjunctional propositions. In
such proverbs, the important Telugu prosodic features of vadi, prasa,
and yati are observed. Vadi or its mitraksharams are syllables which
are friendly, i.e., which go together in the subsequent lines of a poem
while prasa is the parallelism of the second syllable consonant sound in
the subsequent lines in that position. In Telugu poetry, sometimes the
second, third and fourth syllables are composed in parallel consonant
sounds. Since the conditional and conjunctional propositions can be
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split into two or more parts, yati and prasa can be observed in their
structure. For example, the following proverb has a conditional
proposition in the first part separated by a comma:
In this proverb, the first letter ka in the first part is the same as the
first letterka in the second part, thus maintaining yati. In addition
to it, there is alliteration : (ka…ka…ka) ; ( taù …ta ) ,
Consonance (sht…tt..tt..t), assonance (a…a…a…a…a…a),
Vowel rhyme (padi, katti, ta:gi, betti), and syllabic rhyme (i()u…
()u…u) in the same proverb. Furthermore, tagula bettinatlu is a
highly suggestive choice of a word in the proverb – alcohol burns in the
stomach, burns the property (wastes money), and burns the house
(ruins it).
“Growing is for breaking only” follows the metre of a kanda poem line.
It forms the third line of the poem No.103 in Sumathi Sathakam.
(Murthy, B.S. 1992 : 53)
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This line became popular in folk speech and eventually gained the
status of a proverb by its prototypicalization. There are 26 varieties of
metre in Telugu which are divided into two important categories : 1.
Vruttam ; 2. Jati and Upajati. The permutations and combinations of
the 26 varieties of metre (Chandas) yield around 130 million variations
out of which only 200 are mentioned by the Telugu & Sanskrit
rhetoricians. Again, out of them, only 50 are used in books. No
comprehensive treatment of metre in Telugu proverbs has been
undertaken so far – it will itself be a Ph. D. topic! However, for the
purpose of our analysis, it will suffice to know that proverbs in Telugu
are sometimes created according to metre as shown in the above
example.
(86) \
For the// female \
of the// species \
is more// deadly \
than the //
male
considering for, of, is, and than as more prominent than their
immediate neighbours the, the, more, and the. So there is a trochaic
pattern seen throughout:
/
For x the // fe x male / of x the// spe x cies / is x more// dead x ly / than x the//
male
There are many proverbs in folk speech itself which lend themselves to
a patterned metrical structure. For example, (16) / Stop, / look, / listen;
(88) / Fin x ders / kee x pers, / lox sers/ wee x pers; (89) x You / can’t x grow /
figs x from / thistles; (90) x The / ol x der x the / fiddle, x the / be x tter x the
/
tune. So also in Telugu. For example, (91) ‘kat*te, ‘kotxte, ‘tecxce,
(built, hit, brought); (92) / uù x ru / pomxman /tun xi,/ kaù x du / ram xman /
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tun x di (The town asks you to go, the burial ground asks you to come);
(93) / cuù x ci /ram x man / teù/ ka:lx ci/ vac x ci/ natxlu ((If asked to) see and
come, he came after burning); (94) x a/ din x ceù/ do x ka x du, x u/nin x
ceù/do x ka x du (earning is by one, counting is by another).
Nonetheless, most of the proverbs both in Telugu and English are not
patterned strictly according to metre.
Finally, it has been pointed out that the phonological figures of speech
also get standardized at the individual – collective, sociocultural, and
the societal levels by valorization, transmission and retention of the
concerned figure of speech in the proverb.
REFERENCES
Bhuvaneswar, Chilukuri [1988]. “The Phonology of English and Telugu
Proverbs 1 Phonemic systems, phonotactics, and phonetic Realization:
evidence for Ka:rmik Linguistic Theory”. A part of Ph. D. Thesis CIEFL:
Hyderabad
--------- [2008]. “CLT and KLT: A Contrastive
Review”. Al-Mergib Journal of English Studies, Ghasar Khiar and Al-
Khoums. Edited by Meenaga Jagadeeshwara Rao.
--------- [2009]. “The Phonotactics of R: Formal
Linguistic Evidence for Ka:rmik Linguistic Theory”. Al-Mergib Journal of
English Studies, Ghasar Khiar and Al-Khoums. Edited by Meenaga
Jagadeeshwara Rao.
Capra, Fritjof [1997]. The Web of Life. London: Flamingo
Capra, Fritjof [2002]. The Hidden Connections. New York: Doubleday
Leech, Geoffrey N. [1969]. A Linguistic Guide to English Poetry.
Cambridge: Cambridge University Press
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