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Tmesis

Tmesis is a rhetorical and grammatical device in which the elements of a compound word, phrase, or preverb-verb construction are separated by the insertion of one or more intervening words or morphemes, typically for emphasis, poetic effect, or colloquial intensification.^[1]^[2] The term originates from the Ancient Greek word τμῆσις (tmēsis), meaning "a cutting" or "severance," derived from the verb τέμνειν (temnein), "to cut," and first attested in English in the late 16th century to describe such separations in classical texts.^[3]^[4] In classical linguistics, tmesis is prominently featured in Ancient Greek epic poetry, particularly in Homer's Iliad and Odyssey, where prepositions or adverbs (preverbs) are detached from their verbs and placed elsewhere in the sentence while retaining the semantic unity of the compound form—a practice that deviated from later Attic Greek norms and was viewed by ancient grammarians as an archaic or poetic license.^[1] Notable examples include οἳ κατὰ βοῦς Ὑπερίονος Ἠελίοιο ἤσθιον ("they ate up the oxen of Hyperion's sun," equivalent to κατήσθιον) and ὑπὸ δʼ ἔσχετο μισθόν ("he promised hire underneath," equivalent to ὑπέσχετο), illustrating how tmesis allowed for flexible word order in verse composition.^[1] This phenomenon also appears in Vedic Sanskrit, where preverbs could be separated from verbs in a process akin to discontinuous compounding, providing evidence for the two-word status of such elements in early Indo-European languages.^[5] In modern linguistics, tmesis extends beyond classical separation to include infix-like insertions, particularly in English, where free morphemes such as expletives disrupt a word's integrity for expressive purposes, distinguishing it from true infixation involving bound affixes.^[2] Common English examples are "abso-bloody-lutely" (from "absolutely") and "fan-fucking-tastic" (from "fantastic"), often used in informal speech to heighten emphasis or vulgarity, though such usages are non-productive and contextually restricted.^[2] Tmesis-like structures occur cross-linguistically for emphatic splitting, but it remains a marginal and stylistically marked feature rather than a core morphological process in most languages.^[2]

Definition and etymology

Definition

Tmesis is the separation of the parts of a compound word, phrase, or verb by the insertion of one or more words or morphemes.^[6] In its narrow sense, tmesis involves infixation within compounds, where a free form—such as an expletive word—is inserted into a host word, rendering it phonologically discontinuous without creating a new morphological form, as seen in expressions like "abso-bloody-lutely."^[2] The broader sense encompasses interpolation in phrases or separable verbs, particularly the separation of a preverb from its host verb while maintaining semantic cohesion.^[7] This phenomenon occurs primarily in Indo-European languages, where it serves rhetorical functions for emphasis or poetic ones for metrical purposes, such as accommodating hexameter in epic verse.^[8] In ancient contexts, tmesis was recognized by Greek grammarians as an archaic figure of speech (schēma), describing the "cutting" of compounds in poetry.^[9] Modern linguistic analysis treats it as a form of infixation in the narrow sense or particle movement in the broader sense, often viewed as a syntactic operation where elements are displaced for discourse or prosodic reasons.^[10] Tmesis is not productive in most modern languages, persisting mainly as a non-standard feature in English slang through expletive infixation for intensification.^[2]

Etymology

The term tmesis derives from the Ancient Greek noun τμῆσις (tmêsis), meaning "a cutting" or "severance," formed from the verb τέμνω (témnō), "to cut."^[3]^[1] It was borrowed into Late Latin as tmēsis before entering European languages.^[3] Ancient Greek grammarians employed tmêsis to denote a rhetorical figure (schêma) in which prepositions or adverbs were detached from compound verbs, particularly in Homeric epic poetry, treating such separations as archaic deviations from the fused structures of classical Attic Greek.^[1] The term captured the "cutting" apart of verbal units for metrical or stylistic purposes, distinguishing true tmesis—where the preverb retains its compositional sense—from mere adverbial positioning based on syntactic context.^[1] In the Renaissance, European grammarians revived and adapted tmesis in treatises on classical languages to describe analogous interruptions in Greek and Latin texts, bridging ancient and emerging philological traditions.^[3] The word entered English linguistics in the late 16th century, with the Oxford English Dictionary recording its first attested use around 1580 in discussions of rhetorical and grammatical figures.^[3] Today, tmesis serves as a standard term in comparative Indo-European linguistics for preverb separation, highlighting its role in reconstructing Proto-Indo-European syntax where such elements exhibited greater independence before univerbation in daughter languages.^[11]

Tmesis in ancient Indo-European languages

Ancient Greek

In Ancient Greek, tmesis primarily occurs in epic poetry, such as Homer's Iliad and Odyssey, where preverbs are separated from their verbs to accommodate the metrical requirements of dactylic hexameter. This separation allows for flexible word placement to fit the verse's rhythm without altering the semantic compound meaning. A representative example is ἐπ' ἐσσύμενοι in Iliad 11.88, from ἐπι-εσσύμενοι, translating to "rushing upon," where the preverb ἐπ(ί) is detached to position the line properly within the hexameter.^[12]^[13] The phenomenon is common in finite verb forms and was classified by ancient grammarians as a subtype of hyperbaton, a broader disruption of expected word order for stylistic effect. In the Homeric corpus, tmesis appears over 500 times across 18 preverbs and 127 verbs, with more than 200 instances in the Iliad alone, often involving preverbs like ἐν (171 cases) or πρός.^[14]^[15]^[13] It declined sharply in Classical prose authors like Thucydides and Plato, appearing only in rare, fixed expressions such as ἀντ' εὖ ποιεῖν ("to do well in return"), as the language evolved toward univerbation of preverb-verb compounds. However, tmesis persisted in Hellenistic and later epic poetry as an archaizing feature of the epic dialect.^[16]^[9] In dramatic contexts, tmesis appears sporadically for comic or emphatic effect, as in Aristophanes' Clouds (792), where ἀπò γὰρ ὀλοῦμαι ("for I will utterly perish") separates ἀπό from ὀλῶμαι to heighten paratragic exaggeration. This usage underscores tmesis's role beyond metrics, serving rhetorical purposes in dialogue. Linguistically, Homeric tmesis reflects the mobility of Proto-Indo-European particles, which were not yet tightly bound to verbs, preserving an earlier syntactic stage where preverbs functioned more independently.^[13]^[17]^[18]

Latin

In Republican-era Latin poetry, tmesis frequently involved the separation of preverbs from verbs, a feature inherited from Indo-European adverbial constructions that allowed for flexible word order and rhythmic effects.^[19] This device was particularly common in the works of poets like Ennius and Plautus, where it contributed to an archaic, vivid style suited to epic and comic genres. For instance, Ennius employed tmesis in his Annales to mimic early linguistic patterns, as seen in constructions that split compound forms for emphasis or metrical convenience, though some attributed examples like saxo cere comminuit brum ("he dashed his brains out with a rock") are likely spurious inventions by later grammarians.^[20] In Plautus' comedies, such as the Epidicus, tmesis appears in split indefinites like nescio edepol quid (for nescioquid edepol, "I don't know what, by Pollux"), enhancing dramatic dialogue and humor through colloquial separation. Virgil continued this tradition in the Augustan period, using metrical tmesis to adapt preverb-verb compounds to the demands of dactylic hexameter in the Aeneid. A representative example is circum dea fundit (Aeneid 1.412, "the goddess pours around"), where circumfundit is divided to maintain scansion while evoking spatial imagery central to the epic's narrative.^[21] Such instances highlight tmesis as a tool for poetic precision, separating elements like sub ire ("to go under") in other passages to fit the verse's rhythmic structure without altering semantic unity.^[21] In prose, tmesis occurred less frequently than in verse, primarily in early Republican legal and historical texts for rhetorical emphasis, reflecting the era's more fluid syntax before Classical norms solidified. Cicero, for example, occasionally employed it in his orations and philosophical works to underscore arguments, as in separations of compounds for stylistic intensity, though it became rarer as prose conventions emphasized fixed word order.^[22] By the Imperial period, tmesis had largely diminished in productivity due to the rigidification of Latin syntax, surviving mainly as an archaizing poetic feature. Roman grammarians like Varro analyzed it in works such as De Lingua Latina, treating it as a vestige of archaic verbal composition where preverbs functioned as independent adverbs.^[23]

Vedic Sanskrit

In Vedic Sanskrit, tmesis manifests as the separation of preverbs from verbal roots, a phenomenon particularly prevalent in the Rigveda, composed around 1500–1200 BCE. This separation allows preverbs to function as independent words, often positioned sentence-initially or elsewhere for syntactic emphasis, as seen in examples like vi dadhāmi ("I give apart," from vi + √dā), where the preverb vi detaches from the root to modify the verb across intervening elements.^[24] Such constructions highlight the mobility of preverbs in early Indo-Aryan, contrasting with their later fusion into prefixes.^[25] The metrical and ritual functions of tmesis are central to its use in Vedic hymns. Preverbs are frequently detached to align with pada (metrical feet), ensuring rhythmic structure in poetic compositions dedicated to ritual invocation, as in Rigveda 4.56.5ab: prá abhí bhṛ ("we fling... to you"), where positioning aids stanza flow. Over 300 instances of such separations occur in the Rigveda, underscoring their role in maintaining prosodic balance during oral recitation in sacrificial contexts.^[24] This practice not only enhances the auditory appeal of hymns but also amplifies ritual efficacy by emphasizing semantic nuances through word order.^[26] Grammatically, tmesis is facilitated by upapada compounds, which combine a nominal stem with a verbal root (often forming agent nouns), permitting preverb mobility without disrupting core syntax. For instance, in agent formations like sáttā ní yónā (Rigveda 9.86.6), the preverb ní separates from the root-derived element, allowable due to the inner attachment of certain suffixes like -tar-.^[25] This flexibility diminishes in Classical Sanskrit, where preverbs encliticize to roots, reducing tmesis to rare occurrences and favoring integrated verbal forms.^[24] Comparatively, tmesis in Vedic Sanskrit provides evidence of Proto-Indo-European inheritance, with parallels in Avestan, where preverbs like ava and ni exhibit similar initial positioning and separation patterns in Old Avestan texts.^[24] Unlike the later Indo-Aryan trend toward fusion, these features reflect an archaic Indo-Iranian stage of preverb autonomy, distinct from developments in other branches.^[25]

Tmesis in medieval Indo-European languages

Old Irish

In Old Irish, tmesis manifests primarily through the separation of preverbal particles or pronominal infixes from the verb stem, a feature attested in manuscripts dating from approximately 700 to 900 CE, such as the glosses on classical texts and early narrative literature.^[27] This separation occurs within compound verbs, where preverbs like do- (indicating direction or completion) detach from the root, as in the simple verb berid "he carries" transforming into do-berar "it is carried to him" in passive constructions, with the preverb positioned separately to accommodate syntactic demands.^[28] Pronominal infixes, representing object pronouns, further exemplify tmesis by inserting between the preverb and stem, such as ni-m-charat "they do not love me," where the infix -m- (1st person singular) splits the negated particle ni from the verb carat.^[29] Syntactically, tmesis in Insular Celtic languages like Old Irish facilitates phonological mutations, including lenition (softening of initial consonants) and nasalization, which are triggered by the separated particles to mark grammatical relations.^[30] For instance, the preverb do- in do·fhág "he left" (from ad·fágbaid) causes lenition of the verb-initial f-, while nasalizing particles like con- in con·tá "while he is" lead to nasal mutation of following consonants.^[30] This process is evident in epic prose, such as the Táin Bó Cúailnge, where tmesis structures complex verbal phrases to convey narrative action, as in descriptions of battles involving separated preverbs for emphasis or clause integration.^[31] Linguistically, Old Irish tmesis reflects the early divergence of Insular Celtic into Goidelic (including Irish) and Brittonic branches, where such verbal separations became productive in conjugated finite forms to support verb-second word order tendencies, though it remains rare in nominal constructions. Scholarly analysis, pioneered by 19th- and early 20th-century Celticists like Rudolf Thurneysen, distinguishes tmesis from apheresis (initial loss) by emphasizing its role in maintaining prosodic and morphological integrity within the verbal complex.^[28] Thurneysen's foundational grammar highlights how tmesis preserves the etymological unity of preverb-verb compounds while adapting to syntactic constraints.^[28]

Old Norse

In Old Norse, tmesis primarily manifests in skaldic and Eddic poetry, where it involves the separation of prefixes or particles from verbs or compound words, often to achieve metrical effects, enhance alliteration, or contribute to the obscurity characteristic of poetic diction. This phenomenon is particularly evident in skaldic verse, a complex form of court poetry composed from the 9th to 14th centuries, where tmesis interacts with kennings (metaphorical compounds) to layer meaning and challenge interpretation. For instance, in Eyvindr skáldaspillir's Háleygjatal (10th century), the phrase fjǫrð-hjǫrðu is interpreted as tmesis separating fjǫrð ("fjord") from hjǫrðu ("herds"), yielding "fjord-herds" as a kenning for herrings, fitting the alliterative and rhythmic demands of the dróttkvætt meter.^[32] The Poetic Edda, preserved in 13th-century manuscripts but composed between the 9th and 11th centuries, features rarer instances of tmesis, typically with adverbial particles splitting verbal compounds to support alliteration or stanzaic structure; examples include separations in mythological and heroic lays where prefixes like ú- ("out") detach from verbs such as telja ("to count"), forming ú telja ("to count out") for rhythmic emphasis. In sagas like the Völsunga saga (13th century), tmesis appears sporadically in embedded verse to aid kennings and alliterative patterns, underscoring heroic themes, though it is less frequent in the prose narratives.^[33] Grammatically, tmesis in Old Norse derives from Proto-Germanic patterns of separable prefixes in verbs, where preverbs like ú- or af- could detach in subordinate clauses or poetic contexts, reflecting earlier mobility before fusion became standard in the Viking Age. This feature declined post-Viking Age as prefixes integrated more rigidly into stems, limiting tmesis to stylized poetry rather than everyday prose, as seen in Snorri Sturluson's Heimskringla (13th century), where such separations are exceptional and confined to quoted verses. Modern analyses, including examinations of over two dozen skaldic instances, highlight tmesis's role in interpretive challenges, linking it to broader Germanic verbal mobility.^[34]^[35]

Tmesis in English

Historical usage

In Old English (ca. 700–1100 CE), tmesis appeared rarely, mainly in poetic contexts where flexible word order allowed for stylistic or metrical effects, such as the separation of elements in verb phrases. These instances reflect the inherited Germanic freedom in syntax but were not productive, occurring infrequently compared to continental Indo-European languages like Latin or Greek.^[36] During the Middle English period (ca. 1100–1500 CE), tmesis persisted in limited forms, often influenced by Norman French syntactic patterns that encouraged particle interpolation in verb constructions. In poetry, examples include "Thurch feld and thurch wode hye geth" from Lay le Freine (ca. 13th century), where the verb "hye geth" (hasten) is separated by prepositional phrases for rhythmic flow.^[36] Scholarly analyses, including those in the Oxford English Dictionary and Otto Jespersen's A Modern English Grammar on Historical Principles, note these as remnants of earlier flexibility, with low overall frequency. By the transition to Early Modern English (ca. 1500–1700 CE), tmesis's productivity declined sharply due to the increasing fixation of SVO word order, which prioritized clarity over poetic variation. Remnants survived in dialectal verbs and regional speech, but standard usage largely eliminated separations in favor of compact compounds or adjacent particles. This shift is attributed to broader syntactic regularization in post-Norman English.

Phrasal verbs

In English, tmesis manifests in phrasal verbs through the interpolation of an object or adverb between the verb and its particle, altering the standard contiguous structure for syntactic or stylistic reasons. For instance, the phrasal verb "turn off" can appear as "turn the light off," where the direct object "the light" separates the verb from the particle. This separation is a productive feature of modern English syntax, distinguishing phrasal verbs from prepositional verbs, where such interpolation is not possible. The phenomenon emerged as a productive construction in the 16th century during Early Modern English, coinciding with the rise of phrasal verbs as a core element of the language. William Shakespeare's works provide early attestations of such structures.^[37] By the 17th century, this separation had become conventional in informal speech and writing, reflecting the increasing idiomaticity of verb-particle combinations inherited from Germanic roots. Syntactically, particle placement follows the end-weight principle, which favors separating the particle from the verb when the intervening constituent is heavy or complex, thereby placing longer elements toward the end of the phrase for processing ease. In the British National Corpus (BNC), analysis of transitive phrasal verbs shows that continuous forms often dominate, particularly in written data, though separation occurs more variably in spoken registers influenced by discourse context.^[38] This rule applies variably but consistently promotes clarity in informal registers. Linguists debate whether this separation constitutes a direct remnant of Indo-European tmesis, where preverbs detached from verbal roots in ancient languages like Greek and Sanskrit, or a unique development in English phrasal syntax. While historical traces link it to proto-Germanic particle mobility, modern analyses classify it as phrase-level separation rather than true infixation, as the particle retains adverbial independence without morphological fusion.^[39] This distinction underscores its role as a syntactic option rather than a morphological process.

Exclamative infixation

Exclamative infixation refers to the insertion of expletives or intensifiers, such as bloody or fucking, into the middle of compound words or phrases in modern English slang, primarily to heighten emphasis or express strong emotion. This process typically occurs at phonological boundaries, often before the main stressed syllable, as in abso-fucking-lutely (from absolutely) or fan-bloody-tastic (from fantastic), where the infix disrupts the base form for stylistic effect without altering its core meaning or grammatical category.^[40] These constructions are hallmarks of informal, spoken English and represent a rare productive use of infixation in the language. The origins of exclamative infixation trace back to British English in the 19th century, where bloody emerged as a favored intensifier in colloquial speech, gradually evolving into infixed forms by the early 20th century.^[41] It spread prominently to Australian English, with attestations like unbe-bloody-lievable reflecting its adaptation in antipodean slang, and later to American varieties, as seen in early 20th-century slang dictionaries.^[42] This diffusion underscores its role as a sociolinguistic marker of informality across English-speaking regions, though it remains marginal in formal writing. Rhetorically, exclamative infixation amplifies vulgarity, humor, or urgency, transforming neutral expressions into vivid, emotionally charged ones that resonate in casual conversation. In literature and media, it appears for character authenticity, as in James Joyce's Ulysses (1922), where similar emphatic disruptions evoke Dublin vernacular, and in contemporary films or television, such as British sitcoms employing fan-bloody-tastic to heighten comedic tension.^[40] This effect relies on the infix's disruptive placement to draw attention, often eliciting amusement or shock among speakers. Linguistically, this phenomenon is deemed non-grammatical but sociolinguistically productive, classified by Arnold M. Zwicky and Geoffrey K. Pullum as a subtype of "expressive morphology" that operates outside standard morphological rules.^[40] Unlike derivational infixes in other languages, it applies flexibly to any lexical category—nouns, adjectives, adverbs—while preserving the base's syntax, and its rules are phonologically constrained rather than semantically driven, making it a key example of English's expressive word-formation strategies.^[40]

References

[1]
Tmesis | Dickinson College Commentaries
The term tmesis is sometimes applied generally to denote that a preposition is "separated" from the verb which it qualifies, thus including all adverbial uses.Missing: examples scholarly sources
[2]
[PDF] infixation and derivation A chapter on infixa - Juliette Blevins
Aug 29, 2012 · Under tmesis, a word is split apart by another word (free form). (3) Tmesis in English: expletives render words discontinuous. Locus: before ...
[3]
Tmesis - Etymology, Origin & Meaning
Originating from Greek tmesis meaning "a cutting," this figure of speech separates compound word elements by inserting other words, e.g., "a whole nother."Missing: linguistics examples
[4]
tmesis, n. meanings, etymology and more | Oxford English Dictionary
OED's earliest evidence for tmesis is from 1592, in the writing of Angell Day, stationer and writer. tmesis is a borrowing from Greek. Etymons: Greek τμῆσις.Missing: linguistics scholarly
[5]
[PDF] Dvandvas, blocking, and the associative: the bumpy ride from ...
Such discontinuous order ('tmesis') is the most compelling possible evidence for two-word status, because it is a robust cross-linguistic generalization ...
[6]
https://brill.com/view/journals/fdl/51/1/article-p79_79.xml
[7]
https://referenceworks.brill.com/display/entries/EGLO/COM-00000351.xml
[8]
Tmesis in the epic tradition - ResearchGate
This book sets out to disentangle the complex chronology of early Greek epic poetry, which includes Homer, Hesiod, hymns and catalogues.
[9]
Tmesis in Early Greek Hexameter Poetry - Oxford Academic
Jan 6, 2025 · For an occurrence to count as an instance of tmesis, the gap between verb and P-word cannot contain a word which could be governed by the ...
[10]
[PDF] ON TMESIS, WORD ORDER, AND NOUN INCORPORATION ... - HAL
Such a view takes tmesis to be not so much the separation of normally agglutinated elements than the insertion of another constituent into the space framed by ...Missing: definition | Show results with:definition
[11]
Lexical buttinskies - The Grammarphobia Blog
Oct 18, 2011 · Tmesis is the separation of parts of a compound word by inserting another word, often for emphasis or humor, like 'abso-damn-lutely'.
[12]
https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0134%3Abook%3D11%3Acard%3D88
[13]
https://referenceworks.brill.com/display/entries/EGLO/COM-00000351.xml?language=en
[14]
Tmesis - Brill Reference Works
Tmesis is the separation of a preverb from its host verb, commonly found in Homer and in the later epic dialect ( Epic Diction ).Missing: sources | Show results with:sources
[15]
[PDF] Hyperbaton in the Greek Literary Sentence
cases of tmesis), i.e., once in 7.4 lines. The second element in it always marks the end of a syntactical and semantic unit, except if it is the first ...
[16]
On tmesis, word order, and noun incorporation in Homeric Greek
Tmesis in Homeric Greek involves two types, distinguished by the position of the verbal particle. The study identifies 500 tmeses across 18 P-words and 127 ...
[17]
Tmesis - possible or not with -εῖναι based verbs? - B-Greek - Ibiblio
Jul 3, 2016 · Tmesis was most prevalent in the Homeric Greek (and then in later poetry), In principle, I would expect that any verb that takes a preverb ...
[18]
Tmesis in the epic tradition (Chapter 5)
Jan 5, 2012 · It is a characteristic feature of Greek epic diction that compound verbs, which would be integral words in classical Greek, can be split by so-called tmesis.Missing: renaissance | Show results with:renaissance
[19]
https://www.uvm.edu/~jbailly/courses/LundquistLatinHistoryPrehistory/Penney%20Archaic%20and%20Old%20Latin%20from%20Clackson%202013%20Companion%20to%20the%20Latin%20Language.pdf
[20]
https://dokumen.pub/download/ennius-noster-lucretius-and-the-annales-0197517692-9780197517697.html
[21]
[PDF] Ennius Noster: Lucretius and the Annales - dokumen.pub
tmesis with Ennius is likely due to the existence of putative, almost certainly spurious. Ennian examples like saxo cere comminuit brum (see Skustch 1985 ...
[22]
[PDF] Vergil Selected - Text - 02-15-12.indd
Feb 15, 2012 · Tmesis (“splitting”) is the separation into two parts of a word normally written as one, often for a (quasi-)visual effect. E.g., Aen. 2.218–19 ...
[23]
Ancient and Modern in Cicero's Poetry - jstor
the meter with tmesis), and Cicero was well aware of this. The following group includes lines where. Cicero has translated or paraphrased the Greek term ...
[24]
Ennian Experiments - jstor
Such tmesis in Lucilius is much milder; see the examples s.v. in Marx's index. A true parody is found in Varro, Rust. 3.4.1,. "Sexaginta enim milia Fircelina ...
[25]
[PDF] classical sanskrit preverb ordering: a diachronic study
A large part of what makes the Vedic situation more complex to analyze than the Classical situation is so-called “tmesis”– that is, the fact that Vedic preverbs ...
[26]
[PDF] The agent suffixes as a window into Vedic grammar*
That is why in the Vedic texts its type frequency is more than twice, and token frequency ten times, that of /-tar-. So it is not surprising that efforts to ...
[27]
https://lrc.la.utexas.edu/eieol_toc/iriol
[28]
Old Irish Online - The Linguistics Research Center
Tmesis. 8. Verbal Nouns and Their Use. 8.1. Morphology of the Verbal ... Infixed Pronouns. 25.1. 'Class A' Infixed Pronouns. 25.2. 'Class B' Infixed ...
[29]
[PDF] A grammar of Old Irish
type. The Appendix containing grammatical terms I have added in order to show Irish students who are interested in.
[30]
[PDF] The Distribution of the Old Irish Infixed Pronouns
One of the most peculiar features of the highly intricate Old Irish pronominal system is the existence of three separate classes of infixed pronouns used.
[31]
None
**Summary of Tmesis and Verb Second in Early Irish Syntax by Cathal Doherty**
[32]
[PDF] DERIVING THE OLD IRISH CLAUSE - Journal of Historical Syntax
In such cases, a compound verb will be stressed on its first syllable (i.e. prototonic), as befits a typical Old Irish word (Thurneysen 1946: 27).
[33]
Note to Eyv Lv 14I - Skaldic Poetry of the Scandinavian Middle Ages
(a) Adopted in this edn is the reading of Finnur Jónsson, which assumes the tmesis, fjǫrð-hjǫrðu 'fjord-herds [HERRINGS]' (Hkr 1893-1901, IV; Skj B; cf. Frank ...
[34]
[PDF] Rhyme and Alliteration in Skaldic and Eddic Verse
its main variants: a) in Old Norse skaldic poetry, not only retaining but ... Some eddic poems are characterized by tmesis, skaldic kennings, fixed number ...
[35]
https://archive.org/details/oldnorseliteratu0000unse
[36]
Old Norse literature and mythology; a symposium - Internet Archive
Mar 13, 2020 · -- A contribution to the interpretation of skaldic poetry: tmesis, by K. Reichardt. -- On reflections of Germanic legal terminology and ...
[37]
Full text of "Transactions" - Internet Archive
Edwin Guest, Esq., LL.D., Master of Caius College, Cambridge. H. H. Wilson ... Anglo- Saxon and Early-English Syntax. Professor KEY. On the Etymology ...
[38]
[PDF] PHRASAL VERBS AND ASSOCIATED FORMS IN SHAKESPEARE
This paper focuses on three aspects of phrasal verbs. Firstly, to what extent examples of phrasal verbs and associated forms in Shakespeare's works provide.
[39]
[PDF] Variable Particle Positioning in Transitive Phrasal Verbs By Manuela ...
This work investigates the use of TPVs in written discourse in regards to particles away, off and out collected from the British National Corpus (BNC). When the ...
[40]
[PDF] THE DIACHRONY OF PHRASAL VERBS IN ENGLISH AND GREEK
For that reason, our focus will turn towards tmesis, the phenomenon of separation between a preverbal particle. (prepositions and preverbs) and its ...
[41]
[PDF] Not every regularity in the use of language is a matter of grammar ...
PLAIN MORPHOLOGY AND EXPRESSIVE MORPHOLOGY*. Arnold M. Zwicky. Ohio State University and Stanford University. Geoffrey K. Pullum. University of California ...
[42]
[PDF] Extra-grammatical Morphology in English
... Zwicky and Pullum (1987) call. “expressive morphology”. These are some of the reasons which motivate their inclusion within extra-grammatical morphology.<|control11|><|separator|>
[43]
Phonology - Inxifxing and Interposing McMillan 1980 | PDF - Scribd
swearing in Australian English, several times uses INFIX to label ex- ... blessed-lutely good." abso-bloody-lutely 1934 Weseen Dictionary of American Slang 30Missing: exclamative | Show results with:exclamative