here is to make the hustle, bustle, and speed of the children as they come running to the call for the whistle.
b. Phonological Deviation
Leech 1969: 46 states that there are basically two types of deviation: 1 conventional licences of verse composition, 2 special pronunciation for the
convenience of rhyming. For the first type of phonological deviations which is conventional licences, there are aphesis, syncope and apocope. Aphesis is the
omission of an initial part of a word or phrase ‘tis. Syncope is the omission of a
medial part Ne’er, o’er, pow’r. Apocope is the omission of a final part oft. For the
second type which is special pronounciation, the example is the noun wind [w ɪnd]
as the current of air that is pronounced like the verb wind [w ɪnd] as to coil or
twist.
c. Graphological Deviation
There is a kind of graphological deviation which can stand by itself
independent in speech. For example, typographical line of poetry, the
typographical stanza, is a unit which is not parallel in non-poetic varieties of
English: it is independent and capable of interacting with the standard units of
punctuation Leech, 1969: 47. This interaction is a special communicative
resource of poetry.
Two American poets who explore possibilities of patterning in poetry are William Carlos Williams and E. E. Cummings. In Leech 1969: 47, Cummings is
well known for his use of the type of orthographic deviation: abandoning the
capital letters and punctuation. For Cumming, capitalization, spacing, and punctuation become expressive devices, not a symbol to be used according to
typographic. For example: seeker of truth
follow of truth all paths lead where
truth is here
The example above is part of E.E cummings poem in Leech 1969: 47 to one particular use to which graphological deviation can be put. An ambiguity
arises from a difference between the unit of sense indicated by lineation and syntax. According to the lineation, the poem ends with statement
‘truth is here’, but according to the syntax, ‘truth is’ must belong to the clause from the previous
line “all paths lead where”, and so ‘here’ is left on its own as an exclamatory conslusion. The whole significance of the poem turns on this ambiguity, which
could not happen if the poet used conventional capitalization and punctuation.
c. Semantic Deviation
In Leech’s theory 1969: 48, he explains that semantic deviation can mean
‘non-sense’ or ‘absurdity’, as long as people realize that sense is used, in
this context. For example Stephen Crane, 2005: 9, Narrator : a stone had smashed
into Jimmies mouth. Blood was bubbling over his chin and down up his
ragged shirt. Tears made furrows on his dirt-stained cheeks.
In the example that is found in Maggie: A girl of the streets chapter 1, semantically or based on the meaning, it is impossible for a stone, which is a dead
thing, to be able to smash Jimmie’s mouth without any help from others, like the
way Jimmie’s friend throws it to Jimmie’s face. Then, it is also impossible for
tears to make furrows because tear is water that flows from human being’s eye,
the logical effect is the cheeks become wet.
d. Dialectal Deviation Dialectism
Along with Trudgill 2000: 3, dialect is a term that is often applied to form language; mostly it is spoken in more isolated parts of the world, which
have no written form. In literary works, it occurs when the writer uses words or structures which are from a dialect different from that of standard language.
However, it is quite commonly used by story-tellers and comedians. For the poet, dialectism may serve a number of purposes. In his book, Leech 1968:49 also
explains in Kipling’s army ballads and Hardy’s Wessex Ballads that dialectism is almost inseparable from the writer’s because it can depict life as seen through the
experience. For example: heydeguyes a type of dance and rontes young bullocks in
Spenser’s The Shepheardes Calendar 1996: 57.
e. Deviation of Register
Each profession has its particular uses of language, which is known as a register. Literature as a literary profession has its own particular use of words. But
modern writers have freed themselves from the limitation of poetic language. In order to pass their message they often use one or more of registers. In prose
writing, register borrowing is usually accompanied by register mixing, i.e., the meeting of features that belong to different registers in the same texts Leech,
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