What is verbal art? How can the study of verbal art (poetics) inform the science of language? How can the study of language (linguistics) elucidate the field of verbal art? In “Linguistics and Poetics,” Roman Jakobson attempts to tackle these difficult questions. For Jakobson, “poetics may be regarded as an integral part of linguistics” (1145). Hence, the field of linguistics is incomplete without poetics, and poetics is void of context when studied without linguistics.
Before establishing the poetic function of language, Jakobson first lays out a general framework of the various factors present in any form of verbal communication. In its most basic form, an event of verbal communication is made up of an ADDRESSER (the one who is speaking, writing, etc.), who sends a MESSAGE (the content of the verbal communication) to an ADDRESSEE (the one who listens, reads, etc.). The thing to which a message refers to is called the CONTEXT. The transfer of the message relies upon an agreed upon CODE, or system of communication (such as the English language), as well as a CONTACT, which is the actual mode by which the communication happens (speaking/listening, writing/reading, etc.).
With the factors of language established, Jakobson then lays out its various functions. However, he prefaces this by saying: “The diversity lies not in a monopoly of some one of these several functions but in a different hierarchal order of functions. The verbal structure of a message depends primarily on the predominant function” (1148). In other words, every function of language combines various linguistic factors in different ways, yet each of these functions employs every factor, albeit in varying degrees. After this disclaimer, Jakobson lays out the six different functions of language, in correspondence with their predominant factors. The functions are: REFERENTIAL (context), EMOTIVE (addresser), CONATIVE (addressee), PHATIC (contact), METALINGUAL (code), and POETIC (message).
By placing poetics within the matrix of all verbal functions, Jakobson provides reasoning for why poetics is an essential field of study for linguists, and vice versa. “The poetic function is not the sole function of verbal art but only its dominant, determining function, whereas in all other verbal activities it acts as a subsidiary, accessory constituent” (1150). If one is to better understand the functioning of language, they must understand poetics, as it is active in all verbal communication, if only as an “accessory.” Also, if one is to better understand verbal art, they must understand the other functions of language as well, for they are all active within verbal art.
With all of the groundwork laid out, Jakobson attempts to define the distinctive characteristic that designates a work of verbal art as such. To do so, he considers how poetics interacts with the two “modes of arrangement” (1151) used in verbal communication: selection and combination. Using the vernacular of Saussure, these are equivalent to the syntagmatic and associative qualities of language, respectively. Selection is primarily concerned with similarities Whereas equivalence is usually a quality of selection (e.g. choosing between the terms ‘woman,’ ‘girl,’ ‘dame,’ or ‘lady’), while combination is concerned with continuity (i.e. creating a logical sequence). Jakobson uses these ideas to define the poetic function as such: “The poetic function projects the principle of equivalence from the axis of selection into the axis of combination” (1152). Whereas equivalence is usually a quality of selection, poetics applies it to the verbal combination as well. Hence, “Equivalence is promoted to the constitutive device of the sequence” (1152).
In an attempt to better grasp the implications of this assertion, and the functions of language in general, I will apply Jakobson’s ideas to a poem by the masterful Shel Silverstein.
Turkey?
I only ate one drumstick
At the picnic dance this summer,
Just one little drumstick–
They say I couldn’t be dumber.
One tough and skinny drumstick,
Why was that such a bummer?
But everybody’s mad at me,
Especially the drummer.
In this poem, we see the poetic function at play, with a “focus on the message for its own sake,” (1150). The poem, as a whole, serves no other function than to exist as a message, and to be enjoyed as such. Delving into a closer analysis, we can see some of the other functions of language throughout the poem. Most of the sentences are primarily referential, as the narrator tells the tale of the drumstick he ate, describing the “context”, or referent, as “one little drumstick,” or “tough and skinny drumstick.” We see the emotive function as the narrator betrays his belief that he did nothing wrong. This can be seen in the use of “only” in the first line, “just one little” in the third line, and “Why was the such a bummer?” in the sixth line. Though there are many other functions at work, they are all serving the greater purpose of the poetic function, by crafting a message whose value lies in itself.
If we look at the poem in view of Jakobson’s claim about the principle of equivalence, we see that equivalence was clearly the determining factor in forming this particular combination of words. The first, third, and fifth lines all end with the word “drumstick.” Also, the last words of the second, fourth, sixth and eighth lines all rhyme. None of these words could have been changed without dramatically altering the message. In a broader sense, the essence of the poem is derived from the non-equivalence of the last line. While the whole poem had been structured as if the referent (drumstick) were a piece of poultry, the non-equivalence of the last line makes us realize that the referent was actually part of an instrument, and gives a retrospective meaning the whole verbal construction. So, thank goodness, Shel Silverstein passes Jakobson’s test, and can be counted among the ranks of verbal artists.