Abstract

We began with the observation that language is often held to enact the world. We have examined several instances of this notion, beginning with a discussion of the folk etymology of certain words, moving through an example of Freud, to Morgenstern, Lettvin, and Stevens. The method shared by these examples assumes that words are literally saturated with meaning; that what appears arbitrary or senseless in them can be made to render up its sense and its motivation through a kind of inspired analysis. Our intent has been to show how this principle of folk etymology lies behind some sophisticated creative thinking. In Freud, it is hypothesized to be a psychological mechanism of some depth. In Morgenstern and Lettvin, it forms the basis for a resonant poetic joke, while in Stevens it appears to have the same major status as the mythic principle of creation-through-language illustrated in our first examples from Egyptian mythology and from Genesis. Stevens, of course, uses the principle to create poetry, not religion; for as he says in section 5 of "The Man with the Blue Guitar": Poetry Exceeding music must take the placeOf empty heaven and its hymns . . . Samuel Jay Keyser, head of the department of linguistics and philosophy at the Massachusetts Institute of Technology and editor of Linguistic Inquiry, is the coauthor of English Stress: Its Form, Its Growth and Its Role in Verse and of Beginning English Grammar. Alan Prince, an assistant professor of linguistics at the University of Massachusetts at Amherst, has written on stress and linguistic rhythm and is currently working, with Keyser, on the poetry of Wallace Stevens