Metaplasm (met’-a-plazm): A general term for orthographical figures (changes to the spelling of words). This includes alteration of the letters or syllables in single words, including additions, omissions, inversions, and substitutions. Such changes are considered conscious choices made by the artist or orator for the sake of eloquence or meter, in contrast to the same kinds of changes done accidentally and discussed by grammarians as vices (see barbarism).
See: antisthecon, aphaeresis, apocope, epenthesis, paragoge, synaloepha.
“My soul is unwholesome; the whole-sum of depredation, degradation, and degeneracy agitating my actions, I dance across the void and prey on the witless, the greedy, cutting apart their cloven zouls with razor feet, bleeding out their notions of truth, goodness and beauty and transfusing them with cold flowing lies.” Byron Plumpwell.
This is the only thing Plumpwell wrote, yet its eloquence and powerful pathetic impact have given it a place in the canon of 17-century literature. It can echo in your mind weeks after you read it, agitating and making you morose.and out of sorts. His changing the of spelling “souls” to “‘zouls” positions it in semantic proximity to “razor” by the letter “z” exploiting the linkage afforded by purposeful misspelling, forcing the reader to participate more fully in the construction of meaning and the confusion it induces, which is commensurate with the paragraph’s craven tone.
Many readers have subsequently drifted into the throes of depredation, degeneracy, and degradation, drifting despondently into Plumpwell’s written hell. If effects are all that matter, Plumpwell’s writing displays and affects all that matters. In fact, it is said that “Poison Pen” was first coined in response to his singular writing—the one writing which still moves the tectonic plates of poetry and fiction—creating an unstable rumbling beneath them that cannot be ignored.
Readers may typically become miscreants, tearing away their hopes and becoming their fears, running roughshod across the landscape of human relations, vituperating the innocent, breaking hearts, and pushing decent people into the abyss of narcissistic self-promotion and it it’s inducement to the downfall of willing dupes.
Yet, the rhetorical power of Plumpwell’s writing is not guaranteed. It’s Other’s shadow may blot out the luminosity’s of Plumpwell’s words—resolute opposition, well voiced, can glow and nullify their affect on weak minds, and open an opportunity to shed light on the moral disaster delight in their musings designs, freeing its captives from the jailhouse of their inept semiosis, spotlighting Truth with critical discourse.
POSTSRIPT
I am done, now, leaving this battlefield of contestable meaning, returning to my ivory tower where the truth speaks for itself and my servant, who serves my every need, says “Yes boss!” before I even finish my sentences.