Human beings, to communicate, using words, but, as is well known, these words must be ordered as a standard. It is not possible to accumulate a series of words and pretend they mean something. Thus, we can not say, for example:
Below in red joined tables.
Normally, words are organized according to the structure we call the sentence. So we can say: She sings
.
We used an article, a noun and a verb. It has been observed the standard syntactic.
But we can make our words more specific and specify or determine which girl is singing. We use the name supplements. We could
say smiling
She sings. It has supplemented the name "girl" with the adjective "cheerful." We do not mean any girl, but precisely that which is smiling.
Or: Baker
She sings. The supplement is now a nominal group. "Baker."
could also say:
The girl in the garden sings. Complement is a prayer: "that is in the garden."
supplementation can also support the adjectives, adverbs and verbs. See examples: always smiling
She sings. It has supplemented the adjective "cheerful" with the adverb "always"
She sings softly. It has supplemented the verb with an adverb. She sings ballads
his mother in the evenings. They have added a direct object (ballads), an indirect object (his mother) and circumstantial complements (afternoons).
complementation These examples will suffice to explain the reasoning to be carried out.
It will then write all the sentences that have been cited as an example, preceded by a), and then each of them, one analogous to a), preceded by b).
a) The smiling girl sings
b) The green girl sings
a) The girl sings Baker
b) The girl sings
bias
a) The girl in the garden sings
b) The girl in the bulb to
sings) She sings
always smiling b) The girl sings away smiling
a) The girl sings softly
b) The girl sings a
floor) She sings ballads his mother in the evenings
b) The girl sings its ash cheese triangles
As seen, in every sentence, a) b), scrupulously observed the rules syntax. In any place a conjunction as a subject or a preposition in addition to the name,. But then we note that the complementation of the sentences) was performed in a manner that does not repudiate the logic has been carried out in a relevant way. In contrast, in the phrase b), complementarity accomplished is not relevant. No one can say that a girl who sings is green or cheese, etc.. The syntactical structure is correct but not the logical structure of language.
But this is not relevant or "irrelevance" in the supplement is admissible if we look, not only in the conceptual and generic prose, not denotative language, but in poetry, in the connotative language, in which the significance of words is impaired de forma que el que percibe el discurso experimente una emoción.
Esta complementación “impertinente”, que nos extrañaría e incluso nos contrariaría si la leyéramos en un libro científico o en la reseña periodística de un suceso, y que, en todo caso, si allí aparece, no entenderíamos en absoluto, esta “impertinencia”, decimos, cobra valor significativo en poesía. Y es porque, en poesía, la significación de las palabras se abre a todo un abanico de posibilidades, apertura que el contexto promueve. En poesía, el contexto ―todo o, más frecuentemente, una parte de él, incluso una sola palabra― modifica algunos significados de so that the words cease to be modified so conceptual, objective, to gain a subjective significance, with the emotional, sensory, volitional, emotional, etc. subjectivity involved. And it is this change in residence of the poetic act.
Here are some examples from poets consecrated:
and a horizon of
dogs barked very far from the river (García Lorca)
The name "Horizon" is complemented by a nominal group, "dog" who "barks far away ... "gives it meaning. Not that the "horizon" is, objectively, conceptually, "dog" is that "there far over the horizon, you hear a dog bark," as we say in denotative language. But not just the latest quotation marks is what we perceive in the verses cited: exists in our minds a sense of mysterious spacious, peaceful and quiet setting, of slowness in the passage of time, etc. All values \u200b\u200ba complex emotional charge that denotative phrase in quotation marks do not exist.
appreciate the reader, when faced with something that breaks the rule that usually rije the language he speaks and he hears and understands, to find that what he hears or reads the poem does not agree with that rule, very quickly re-encodes the message but its emotional charge, with new connotations. The mind of the reader (or listener) follows two consecutive steps: first, the shock, the inability to understand the message in accordance with "standard" habitual, second, a new encoding of the message that captures the depths of connotative meaning. All this, together with a sense of aesthetic pleasure. Let
, faster, more examples:
Palpita a sea of \u200b\u200bsteel gray waves in the rough embankments
gnawed (A. Machado)
The name "sea" has two nominal complements, an impertinent (SWR) and other relevant ("wave gray). The reader notes that the sea can not be steel, but then, says the real meaning, the connotation that comes from this addition to the name, which is reinforced by the second supplement: sea of \u200b\u200bmetallic, hard, cold, violent , wasteland, etc..
Teeth of flowers, dew cap,
hands of herbs, you, perfect wet nurse, keep me borrow
earthly sheets and quilt of weeded moss. (Alfonsina Storni) Four-ons
name
irrelevant: An adjective, "earthy" and three nominal groups "dew", "herbal" and "weeded moss." Note the densely poetic fragment. As is the case of copying the whole poem, suffice it to say that the poet, before committing suicide (actually committed suicide), talk to the tomb where he will be buried (wet nurse) listing the circumstances (flowers, sprays, herbs ...). Everything is a metaphor continues.
Our bodies understand more sadly,
but I love this purple desolate. Ah
black flower bedrooms, ah dawn pills. (A. Gamoneda)
easily, at this point you should note that we want to highlight.
But there is more to report. And is that supplements can be impertinent de dos clases. Para explicar esta clasificación, pongamos dos ejemplos de complementación no pertinente o, como hemos llamado aquí, “impertinente”:
1. Palpita un mar de acero de olas grises
2. Palpita un mar de horno de olas grises
Vemos que, en la 1., el lector, al chocar con la “impertinencia” de “mar de acero”, codifica el mensaje sin atenerse a la norma usual y encuentra un significado subjetivo, como se expuso más arriba. Entonces, al placer estético de la “impertinencia, se une el placer estético de la aprehensión de la connotación. Se ha eludido satisfactoriamente el absurdo. Se ha llegado a la poesía.
Pero en 2., faced with the impertinence "sea of \u200b\u200bbaked," you get stuck, frozen. If in the context there is nothing to suggest an unthinkable meaning "oven", then a "sea of \u200b\u200bfurnace" does not suggest anything. Just feel the aesthetic pleasure derived from the "irrelevance" in itself. It can not escape the absurd. Poetry only if a priori it was decided to unify this with the absurd.
said André Breton, the father of Surrealism: "The more robust image is the one with a higher degree of arbitrariness." And it was automatic writing, in English poetry, was almost always surreptitiously introducing a cierto grado de control.
Ha habido diversos intentos de dotar a la no pertinencia absurda de un valor poético en cuanto se admite como posible encontrar un nexo remoto entre el complemento y alguna connotación, si no inmediata, sí remota, recurriendo a complicados vericuetos psíquicos. (Léase, por ejemplo: Superrealismo Poético y Simbolización. Carlos Bousoño. Editorial Gredos.Madrid).
Es de reseñar, antes de finalizar, que lo dicho para la complementación es válido igualmente para la predicación (La mesa es “navegante”. El perro está “sideral”, etc.) e, incluso, a toda la estructura oracional: “Verdes ideas incoloras duermen furiosamente” (Avram Noam Chomsky. Syntactic Structures.)
In conclusion to this article, just add that in the end, and in each case, will the reader who, with his individual and unique psychological baggage, opening their sensitivity to the poem, respond with sincerity to the ubiquitous question "has touched you?
Jerónimo Muñoz Palma. March, 2008
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