Prose
Ordinary form of written or spoken language, as opposed to poetic verse From Wikipedia, the free encyclopedia
Prose is the ordinary conversational form of language. It follows the natural flow of speech, using ordinary vocabulary and grammatical structures, as opposed to elaborate rhetorical ornamentation or structure. Prose differs most notably from poetry, which follows a poetic structure. Poetic structures vary dramatically by language, but they often use rhythmic metre (patterns of syllable stress or syllable (mora) weight). They may also use repeating patterns of phonemes, phoneme groups, tones (phonemic pitch shifts found in tonal languages), words, and entire phrases. These include consonance (or just alliteration), assonance (as in the dróttkvætt), and rhyme schemes (patterns in rimes, a type of phoneme group). Poetic structures may even be semantic (e.g. the volta required in a Petrachan sonnet). Prose, while it may use these verbal rhythms, is not governed by them and does not structure itself by them.
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Prose exists even in languages with no written form (which often use verse extensively in lieu of writing, for instance to preserve oral history). In written language, prose and poetry are often formatted differently. Poetry is often written in verses: writing formatted to highlight the poetic structure, parallel to the way that a person would highlight the structure orally if saying the poem aloud (for example, rhyming poetry may be divided into lines with a rhyme on the end of each one). Prose uses writing conventions and formatting that may highlight meaning (for instance, the use of a new paragraph for a new speaker in a novel), but cannot highlight the poetic structure it does not have.
The word "prose" first appeared in English in the 14th century. It is derived from the Old French prose, which in turn originates in the Latin expression prosa oratio (literally, straightforward or direct speech).[1] In highly-literate cultures where spoken rhetoric is considered relatively unimportant, definitions of prose may be narrower, including only written language (but including written speech or dialogue). In written languages, spoken and written prose usually differ sharply. Sometimes, these differences are transparent to those using the languages; linguists studying extremely literal transcripts for conversation analysis see them, but ordinary language-users are unaware of them.
Academic writing (works of philosophy, history, economics, etc.), journalism, and fiction are usually written in prose (excepting verse novels etc.). Developments in twentieth century literature, including free verse, concrete poetry, and prose poetry, have led to the idea of poetry and prose as two ends on a spectrum rather than firmly distinct from each other. The British poet T. S. Eliot noted, whereas "the distinction between verse and prose is clear, the distinction between poetry and prose is obscure."[2]
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Latin was a major influence on the development of prose in many European countries. Especially important was the great Roman orator Cicero (106–43 BC).[3] It was the lingua franca among literate Europeans until quite recent times, and the great works of Descartes (1596–1650), Francis Bacon (1561–1626), and Baruch Spinoza (1632–1677) were published in Latin. Among the last important books written primarily in Latin prose were the works of Swedenborg (d. 1772), Linnaeus (d. 1778), Euler (d. 1783), Gauss (d. 1855), and Isaac Newton (d. 1727).
Latin's role was replaced by French from the 17th.- to the mid-20th century, i.e. until the uptake of English:
- For about three hundred years French prose was the form in which the European intelligence shaped and communicated its thoughts about history, diplomacy, definition, criticism, human relationships — everything except metaphysics. It is arguable that the non-existence of a clear, concrete German prose has been one of the chief disasters to European civilisation.[4]
Prose usually lacks the more formal metrical structure of the verses found in traditional poetry. It comprises full grammatical sentences (other than in stream of consciousness narrative), and paragraphs, whereas poetry often involves a metrical or rhyming scheme. Some works of prose make use of rhythm and verbal music. Verse is normally more systematic or formulaic, while prose is closer to both ordinary, and conversational speech.
In Molière's play Le Bourgeois gentilhomme the character Monsieur Jourdain asked for something to be written in neither verse nor prose, to which a philosophy master replies: "there is no other way to express oneself than with prose or verse", for the simple reason that "everything that is not prose is verse, and everything that is not verse is prose".[5]
American novelist Truman Capote, in an interview, commented as follows on prose style:
I believe a story can be wrecked by a faulty rhythm in a sentence— especially if it occurs toward the end—or a mistake in paragraphing, even punctuation. Henry James is the maestro of the semicolon. Hemingway is a first-rate paragrapher. From the point of view of ear, Virginia Woolf never wrote a bad sentence. I don't mean to imply that I successfully practice what I preach. I try, that's all.[6]
Types
Many types of prose exist, which include those used in works of nonfiction, prose poem,[7] alliterative prose and prose fiction.
- A prose poem – is a composition in prose that has some of the qualities of a poem.[8]
- Haikai prose – combines haiku and prose.
- Prosimetrum – is a poetic composition which exploits a combination of prose and verse (metrum);[9] in particular, it is a text composed in alternating segments of prose and verse.[10] It is widely found in Western and Eastern literature.[10]
- Purple prose – is prose that is so extravagant, ornate, or flowery as to break the flow and draw excessive attention to itself.[11]
Divisions
Prose is divided into two main divisions:
- Fiction
- Non fiction
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