Folk art is often produced by anonymous and formally untrained consumers for their own or barter use. It might later, like brothel-born jazz, be accorded the status of a fine art by subsequent audiences who assign greater complexities to its structure.

The obvious question to ask at this point is: ‘Why posit the existence of a set of Thematic Relations (THEME, AGENT, INSTRUMENT, etc.) distinct from constituent structure relations?ʼ The answer given in the relevant literature is that a variety of linguistic phenomena can be accounted for in a more principled way in terms of Thematic Functions than in terms of constituent structure relations.

But it was in the immediate numinous aftermath of that predawn visit that I first saw the next, final stage of our haplessly greenward collapse.

It tells the audience the punch was thrown, they hear a knap, and the victim is 'injured'.