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By Wayne Green

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Accents based on regions of England, for example, tend to stay within the accepted spelling conventions for, say, Yorkshire English. WORD-FORMATION AND WORD COMBINATIONS It will be seen in chapter 4 that the twentieth century has seen much creative use of the word-formation and combination possibilities of English. Some of these inventions reflect the spoken 28 THE LANGUAGE OF TWENTIETH-CENTURY POETRY language in a way that is relevant to this chapter. e. cummings: love is more thicker than forget more thinner than recall and in a later verse: less bigger than the least begin less littler than forgive ...

No cUffs than mine are cleaner; I have a Slimline brief-case and I use the firm's Cortina. These lines from The Executive by John Betjeman illustrate his skill in combining strict metre with modern topics and vocabulary. The amusing and apparently trivial nature of the subject-matter is emphasised by the 'jolly' metre. However, this impression is belied by the emerging unattractive picture of a ruthless property developer: I do some mild developing. The sort of place I need Is a quiet country market town that's rather run to seed.

5), and later: And my father, with his stern blue eye (1. 7). The capital letters indicate a new sentence, although there is no preceding full-stop and these departures from standard punctuation add to the effect of a rather breathless piling up of sentences in a storytelling style. 3 The Sound of TwentiethCentury Poetry Man, you must sweat And rhyme your guts taut, if you'd build Your verse a ladder. S. Thomas, Poetry for Supper) Like the poetry of earlier times, the poetry of the twentieth century sees the sounds of English as one of its most important resources.

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Command sets by Wayne Green

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