There is a great deal of dispute concerning the methods through which literary language should be studied. Language is an immensely complex and variable instrument and many linguists have been seriously concerned with its various theoretical aspects and its psychological, sociological and philosophical dimensions. Certainly, the study of literary language appeals to our mental and emotional deposit and requires some certain potentials of the human mind to be involved, such as reason, imagination and feelings.
Until the nineteenth century literary language was not studied for its own sake. It was always a question of what advantage could be derived from linguistic study for the logical formulation of thought and, mainly, for the understanding of the classical writers, regarded not only as literary models but as linguistic norm too.
The idea of stylistics - referring to the way in which language is used in a given context, by a given person, for a given purpose began its development not until relatively recently and was considered to be the border area where the study of language and the study of literature found a common basis. Language was considered to be the dress of thought and style, the particular cut and fashion of that dress.
Despite of the invaluable contribution of style and of stylistic analysis to the revelation of the patterning of language at distinct levels, their power to enable us to read between the lines and their providing of the means that are necessary for a further elaboration of the form and of meaning, it is strongly believed that literary language in minimal pieces can be an access to creativeness - a path to reflect the author's way of writing and his mode of expression. In other words, through an "enforced process of discovery" - from word to construction, from construction to text, from text to containing form, we will be able to clarify the linguistic problems of interpretation or at least to point to where the source of an ambiguity lies.
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