Abstract

The opposition prose/verse can only be established in the heart of literal language. The only way of producing nonliteral language is in conversation. . . . Enrique Anderson Imbert published a book in 1958 titled ¿Qué es la prosa? , in which he says: 'No, we do not speak in prose. Prose is not a projection of everyday speech, but rather artistic elaboration."1 But my adherence to his intelligent point of view is not total because he situates prose in the heart of written language, and I think that it should be ascribed to literal language. For Anderson Imbert such an idiomatic modality results in an artistic elaboration; but the intention of prose can be quite different. The reader, for instance, by virtue of his reading, can transform prose into literature; and unwritten prose does exist, as has been stated. In many cases it is impossible to compose the texts in verse; structurally, then, an opposition cannot be established, just as in the case of the student who takes notes following the explanations of the professor. These texts can only be what they are: a more or less truthful transcription, a "copy" of oral language, a mere change of substance, abbreviated in order to bring it closer, as a simple memento, to the elliptical articulations of inner language. · 1. "No, no hablamos en prosa. La prosa no es proyección del habla corriente, sino elaboración artística." Enrique Anderson Imbert, ¿Que es la prosa? 4th ed. , p. 31. Fernando Lázaro Carreter is the director of the department of Spanish at the Universidad Autónoma in Madrid and a member of the Real Academia Española. The author of books on both linguistics and criticism, his published works include: Las ideas lingüísticas en España durante el siglo XVIII; Diccionario de términos filológicos; Estilo barroco y personalidad creadora; Ensayos de Poética ; and Lazarillo de Tormes en la picaresca. This article is a preliminary statement of a problem he is currently investigating: literary language understood as "literal language."