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In its strictest sense, tmesis (/ˈtmiːsɪs, təˈmiː-/; plural tmeses /ˈtmiːsiːs, təˈmiː-/; Ancient Greek: τμῆσις tmēsis – "a cutting" < τέμνω temnō, "I cut") is the dividing of a word into two parts, with another word inserted between those parts, thus forming a compound word; for example, "un-bloody-believable" as an emphatic way to say "unbelievable". In a broader sense, tmesis is a set phrase, such as a phrasal verb, with one or more words interpolated within, thus creating a separate phrase.[1][2][3]

Verbs

[edit]

Tmesis of prefixed verbs (whereby the prefix is separated from the simple verb) was thought to be an original feature of the Ancient Greek language, common in Homer (and later poetry), but not used in Attic prose.[citation needed] Such separable verbs are also part of the normal grammatical usage of some modern languages, such as Dutch and German.

Ancient Greek

[edit]

Tmesis in Ancient Greek is something of a misnomer, since there is not necessarily a splitting of the prefix from the verb; rather the consensus now seems to be that the separate prefix or pre-verb reflects a stage in the language where the prefix had not yet joined onto the verb. There are many examples in Homer's epics, the Iliad and the Odyssey, both of which preserve archaic features. One common and oft-cited example is κατὰ δάκρυα λείβων (kata dakrua leibōn; "shedding tears"), in which the pre-verb/prefix κατά- kata- "down" has not yet joined the verbal participle λείβων leibōn "shedding". In later Greek, these would combine to form the compound verb καταλείβων kataleibōn "shedding (in a downwards direction)".

Latin

[edit]

Tmesis is found as a poetic or rhetorical device in classical Latin poetry, such as Ovid's Metamorphoses[citation needed]. Words such as circumdare ("to surround") are split apart with other words of the sentence in between, e.g. circum virum dant: "they surround the man" (circumdant (circum- prefix + dant)). This device is used in this way to create a visual image of surrounding the man by means of the words on the line. In the work of the poet Ennius, the literal splitting of the word cerebrum creates a vivid image: saxo cere comminuit brum "he shattered his brain with a rock."[4]

Old Irish

[edit]

Tmesis can be found in some early Old Irish texts, such as Audacht Morainn (The Testament of Morann). Old Irish verbs are found at the beginning of clauses (in a VSO word order) and often possess prepositional pre-verbal particles, e.g. ad-midethar (ad- prefix) "evaluates, estimates". Tmesis occurs when the pre-verbal particle is separated from the verbal stem and the verbal stem is placed in clause final position while the pre-verbal particle/prefix remains at the beginning of the clause. This results in an abnormal word order, e.g. ad- cruth caín -cichither "[the] fair form will be seen" (where ad-chichither is the future third-person singular passive of ad-cí "sees").[5]

Old Norse

[edit]

Examples of tmesis have been found in skaldic poetry. In addition to the use of kennings, skalds used tmesis to obscure the meaning of the poem.[6] One use of tmesis was to divide the elements of personal names.[6]

English

[edit]

Colloquial examples include un-bloody-believable, abso-bloody-lutely,[7] and several variants. Numerous English words are joined with the vulgar element -fucking-, such as unfuckingbelievable [8] or fanfuckingtastic;[9] the tmesis often does not occur between a prefix and the root, but inside the root itself, as seen above in absobloodylutely and fanfuckingtastic.

Phrasal verbs

[edit]

English employs a large number of phrasal verbs, consisting of a core verb and a particle; placing a word between them is sometimes called tmesis.[citation needed] For example:

Turn off the light OR Turn the light off.
Hand in the application OR Hand the application in.

When the object of the verb is 'it', tmesis is the norm, with turn it off and hand it in being nearly obligatory; *hand in it is only possible with contrastive intonation.

Such tmesis can also occur with an intransitive phrasal verb, typically with an adjunct. For example:

Come back tomorrow OR Come on back tomorrow.
Let's head out OR Let's head right out.

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Tmesis

View on Grokipedia
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Tmesis is a rhetorical and grammatical device in which the elements of a compound word, , or preverb-verb are separated by the insertion of one or more intervening words or morphemes, typically for emphasis, poetic effect, or colloquial intensification. The term originates from the word τμῆσις (tmēsis), meaning "a cutting" or "severance," derived from the verb τέμνειν (temnein), "to cut," and first attested in English in the late to describe such separations in classical texts. 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. 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. 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. In modern , tmesis extends beyond classical separation to include infix-like insertions, particularly in English, where free morphemes such as expletives disrupt a word's for expressive purposes, distinguishing it from true infixation involving bound affixes. Common English examples are "abso-bloody-lutely" (from "absolutely") and "fan-fucking-tastic" (from "fantastic"), often used in informal speech to heighten emphasis or , though such usages are non-productive and contextually restricted. 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.

Definition and etymology

Definition

Tmesis is the separation of the parts of a compound word, , or by the insertion of one or more words or morphemes. 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." The broader sense encompasses in phrases or separable verbs, particularly the separation of a preverb from its host while maintaining semantic cohesion. This phenomenon occurs primarily in , where it serves rhetorical functions for emphasis or poetic ones for metrical purposes, such as accommodating in epic verse. In ancient contexts, tmesis was recognized by Greek grammarians as an archaic (schēma), describing the "cutting" of compounds in . Modern linguistic 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. Tmesis is not productive in most modern languages, persisting mainly as a non-standard feature in English through for intensification.

Etymology

The term tmesis derives from the noun τμῆσις (tmêsis), meaning "a cutting" or "severance," formed from the τέμνω (témnō), "to cut." It was borrowed into as tmēsis before entering European languages. 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. 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. In the , 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. The word entered English in the late 16th century, with the recording its first attested use around 1580 in discussions of rhetorical and grammatical figures. Today, tmesis serves as a standard term in comparative Indo-European for preverb separation, highlighting its role in reconstructing Proto-Indo-European syntax where such elements exhibited greater independence before univerbation in daughter languages.

Tmesis in ancient

Ancient

In Ancient , tmesis primarily occurs in , such as Homer's Iliad and Odyssey, where preverbs are separated from their verbs to accommodate the metrical requirements of . 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. The phenomenon is common in finite verb forms and was classified by ancient grammarians as a subtype of , a broader disruption of expected 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 alone, often involving preverbs like ἐν (171 cases) or πρός. It declined sharply in Classical prose authors like and , appearing only in rare, fixed expressions such as ἀντ' εὖ ποιεῖν ("to do well in return"), as the evolved toward univerbation of preverb-verb compounds. However, tmesis persisted in Hellenistic and later as an archaizing feature of the epic dialect. In dramatic contexts, tmesis appears sporadically for comic or emphatic effect, as in ' Clouds (792), where ἀπò γὰρ ὀλοῦμαι ("for I will utterly perish") separates ἀπό from ὀλῶμαι to heighten paratragic . This usage underscores tmesis's role beyond metrics, serving rhetorical purposes in . 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.

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. 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. 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 in the . A representative example is circum dea fundit (Aeneid 1.412, "the goddess pours around"), where circumfundit is divided to maintain while evoking spatial central to the epic's . 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. 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. By the Imperial period, tmesis had largely diminished in productivity due to the rigidification of , 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.

Vedic Sanskrit

In , tmesis manifests as the separation of preverbs from verbal roots, a phenomenon particularly prevalent in the , 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 across intervening elements. Such constructions highlight the mobility of preverbs in early Indo-Aryan, contrasting with their later fusion into prefixes. 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 invocation, as in 4.56.5ab: prá abhí bhṛ ("we fling... to you"), where positioning aids stanza flow. Over 300 instances of such separations occur in the , underscoring their role in maintaining prosodic balance during oral recitation in sacrificial contexts. This practice not only enhances the auditory appeal of hymns but also amplifies ritual efficacy by emphasizing semantic nuances through . Grammatically, tmesis is facilitated by upapada compounds, which combine a nominal stem with a verbal (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-. This flexibility diminishes in Classical , where preverbs encliticize to roots, reducing tmesis to rare occurrences and favoring integrated verbal forms. Comparatively, tmesis in provides evidence of Proto-Indo-European inheritance, with parallels in , where preverbs like ava and ni exhibit similar initial positioning and separation patterns in Old Avestan texts. 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.

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 stem, a feature attested in manuscripts dating from approximately 700 to 900 CE, such as the glosses on classical texts and early narrative literature. This separation occurs within compound verbs, where preverbs like do- (indicating direction or completion) detach from the , 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. 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 carat. Syntactically, tmesis in like facilitates phonological mutations, including (softening of initial consonants) and , which are triggered by the separated particles to mark . For instance, the preverb do- in do·fhág "he left" (from ad·fágbaid) causes of the verb-initial f-, while nasalizing particles like con- in con·tá "while he is" lead to nasal mutation of following consonants. This process is evident in epic prose, such as the , where tmesis structures complex verbal phrases to convey narrative action, as in descriptions of battles involving separated preverbs for emphasis or clause integration. Linguistically, 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 tendencies, though it remains rare in nominal constructions. Scholarly analysis, pioneered by 19th- and early 20th-century Celticists like Rudolf Thurneysen, distinguishes tmesis from (initial loss) by emphasizing its role in maintaining prosodic and morphological integrity within the verbal complex. Thurneysen's foundational highlights how tmesis preserves the etymological unity of preverb-verb compounds while adapting to syntactic constraints.

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 , or contribute to the obscurity characteristic of . 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 (metaphorical compounds) to layer meaning and challenge interpretation. For instance, in Eyvindr skáldaspillir's Háleygjatal (), the phrase fjǫrð-hjǫrðu is interpreted as tmesis separating fjǫrð ("fjord") from hjǫrðu ("herds"), yielding "fjord-herds" as a for herrings, fitting the alliterative and rhythmic demands of the dróttkvætt meter. The , 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 (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. 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.

Tmesis in English

Historical usage

In (ca. 700–1100 CE), tmesis appeared rarely, mainly in poetic contexts where flexible allowed for stylistic or metrical effects, such as the separation of elements in phrases. These instances reflect the inherited Germanic freedom in syntax but were not productive, occurring infrequently compared to continental like Latin or Greek. During the period (ca. 1100–1500 CE), tmesis persisted in limited forms, often influenced by Norman French syntactic patterns that encouraged particle interpolation in constructions. In , examples include "Thurch feld and thurch wode hye geth" from Lay le Freine (ca. ), where the "hye geth" (hasten) is separated by prepositional phrases for rhythmic flow. Scholarly analyses, including those in the 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 (ca. 1500–1700 CE), tmesis's productivity declined sharply due to the increasing fixation of SVO , 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 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 from the particle. This separation is a productive feature of syntax, distinguishing phrasal verbs from prepositional verbs, where such interpolation is not possible. The phenomenon emerged as a productive construction in the during , coinciding with the rise of phrasal verbs as a core element of the language. William Shakespeare's works provide early attestations of such structures. By the , 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 (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 context. 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 , 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 independence without morphological fusion. 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. 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 in the , where bloody emerged as a favored in colloquial speech, gradually evolving into infixed forms by the early . It spread prominently to , with attestations like unbe-bloody-lievable reflecting its adaptation in antipodean , and later to American varieties, as seen in early 20th-century dictionaries. 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 . In literature and media, it appears for character authenticity, as in James Joyce's Ulysses (1922), where similar emphatic disruptions evoke vernacular, and in contemporary films or television, such as British sitcoms employing fan-bloody-tastic to heighten comedic tension. 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. 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.

References

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