This article attempts to see، through the structural significances of poetic
language، the nature of the split between linguistic description and literary
interpretation. Rhythm is the most prominent means of relating form to
content in poetic language. The first account of this prominence is seen through
identifying its position in the two prosodic forms of metrical and non-metrical
poetry. Foregrounding has been seen as a significant feature in literary
creation. Following Bradford (1997) the analysis undertakes three stages of
analysis as ‘discovery procedures’، ‘naturalization’، and ‘judgment’ (renamed in
our work as ‘remarks’). The first level examines the degree of the tension
between the two patterns. In the second level، i.e. naturalization، the analysis
goes on turning the peculiar language of the poem into that of the ordinary،
which means making sense of a text. This translation of the poetic language has
been shown to be considerably rooted in elements of form in the classical verse،
and of content in modern free verse. The intervening type has thus been judged
to exist somewhere between the two. The third level، namely ‘remarks’
evaluates the degree of the poet’s success in managing the tension between the
two patterns.
