This work is a cognitive semantic study of metaphysical poetry, which entails a
linguistic as well as a psychological or cognitive analysis of selected poems of this
literary era. For long philosophers, literati, and linguists have held the view that
poetic language is artistic proper, and that it is by no means open to analysis in terms
of the modern theories of language.
It is hypothesized here that poetic language represented by the data collected in
this study is indicative of many mental abilities unique to the human mind with
respect to meaning construction and meaning conception. It is also hypothesized that
the so-called figures of speech are but part of the general mental abilities of human
beings, something which runs counter to Chomsky’s faculty of language.
The work tries to unfold the meaning construction and meaning conception
aspects involved in metaphysical poetry, which could, at least partially, account for
literary, specifically poetic, creativity within a cognitive semantic framework.
Two of the prominent theories of cognitive semantics, namely Conceptual
Metaphor Theory and Construal Operations Model, have been applied to nine
metaphysical poems that are reflective of the most outstanding trends of the era.
This work comprises eight chapters. Chapter One is an introduction. It deals with
the problems, aims, hypotheses, scope of the study as well as the data collected, the
procedure adopted in conducting the analysis, and the value of the study.
Chapter Two represents a detailed theoretical account of the rise, development,
assumptions of cognitive linguistics, and the place of cognitive semantics within this
new trend in linguistics. In doing so, the major concepts and areas that bring
linguistics and cognition into common ground are expatiated. In general, this chapter
deals with the relationship among language, meaning, and cognition. At the end of
Chapter Two, a brief account is provided for the well-known models that constitute
the cognitive approach to semantics.
Chapter Three introduces the notion of metaphor in the light of the traditional
schools of linguistics and the cognitive semantic approach. This chapter also tacklesthe Conceptual Metaphor Theory in detail. It classifies the conceptual metaphors
into their various classes according to different criteria.
Chapter Four is devoted to the elaboration of Langacker’s construal operations
model. The theories, discussed in this and the previous chapters, are the models in
the light of which the selected metaphysical poems are analyzed.
Chapter Five attempts to trace, review, and evaluate the cognitive linguistics or
semantics interest in literature. In this same chapter, a brief introduction is provided
for metaphysical poetry and its major characteristics as well as its main poets.
In Chapter Six, the Conceptual Metaphor Theory insights are applied to the
analysis of the meaning creation and perception of six metaphysical poems. Chapter Seven is a practical chapter that applies Langacker’s construal operations theory to three metaphysical poems.
Chapter Eight embraces the conclusions that the study has arrived at. The
following are the most important ones:
1. Poets, like non-poets, make use of the conceptual metaphors, and the poetic
metaphors are all based on ordinary conceptual metaphors. Therefore, there is
no fundamental difference between poets and non-poets in terms of the use as
well as comprehension of the conceptual metaphors. This is why we as non�poets can understand the language of poetry.
2. Poets and non-poets are basically similar in their basic use of the mental
ability that helps humans construe one single event or situation from different
perspectives.
3. The two practical chapters are evidently supportive to the hypotheses that
propose the applicability of the two cognitive semantic models to the analysis
of the language of metaphysical poems.
At the end of Chapter Eight, a list of suggested topics for further research is
provided. Finally, the full texts of the nine poems are put in the appendixes.