Гальперин И. Р. Стилистика английского языка

Whilome (at some past time) in Albion's isle (the oldest name of the island of Britain) there dwelt (lived) a youth,
Who ne (not) in virtue's ways did take delight:
But spent his days in riot (wasteful living) most uncouth (unusual, strange)
And vex'd (disturbed) with mirth (fun) the drowsy ear of Night.
Ah me! (interjection expressing regret, sorrow) in sooth (truely) he was a shameless wight (a human being)
Sore (severely, harshly) given to revel (noisy festivity) and ungodly (wicked) glee (entertainment);
Few earthly things found favour in his sight
Save concubines (prostitutes) and carnal (not spiritual) companie,
And flaunting (impudent) wassailers (drunkards; revellers) of high and low degree.
The use of poetic words does not as a rule create the atmosphere of poetry in the true sense; it is a substitute for real art. Poetic words are not freely built in contrast to neutral, colloquial and common literary words, or terms. The commonest means is by compounding, e. g. 'young-eyed', 'rosy-fingered'.
Some writers make abundant use of this word-building means. Thus Arthur Hailey in his novel "In High Places" has 'serious-faced', 'high-ceilinged', 'beige-carpeted', 'tall-backed', 'horn-rimmed' in almost close proximity. There is, however, one means of creating new poetic words still recognized as productive even in present-day English, viz. the use of a contracted form of a word instead of the full one, e. g. 'drear' instead of dreary, 'scant' (=scanty). Sometimes the reverse process leads to the birth of a poeticism, e. g. 'vasty' (=vast. 'The vasty deep', i. e. the ocean); 'steepy' (=steep), 'paly' (=pale).
These two conventional devices are called forth by the requirements of the metre of the poem, to add or remove a syllable, and are generally avoided by modern English poets.
Poetical words and set expressions make the utterance understandable only to a limited number of readers. It is mainly due to poeticisms that poetical language is sometimes called poetical jargon.
In modern English poetry there is a strong tendency to use words in strange combinations. It manifests itself in the coinage of new words and, most of all, in combining old and familiar words in a way that hinders understanding and forces the reader to stop and try to decipher the message so encoded.
The following may serve as examples:
'The sound of shape'; "night-long eyes'; 'to utter ponds of dream'; 'wings of because'; 'to reap one's same'; 'goldenly whole, prodigiously keen star whom she – and he – , – like ifs of am perceive...' (E. E. Cummings).
All these combinations are considered ungrammatical inasmuch as they violate the rules of encoding a message. But in search of new modes of expression modern poets, particularly those who may be called "modernists", have a strong bias for all kinds of innovation. They experiment with language means and are ready to approve of any deviation from the normal. So also are literary critics belonging to what is called the avant-garde movement in art, the essence of which is the use of unorthodox and experimental methods. These usually lead both the poet and the critic to extremes, examples of which are given, above.