PHONOLOGICAL FEATURES IN ROBERT FROST S FIRE AND ICE AND NOTHING GOLD CAN STAY POEMS

Transcription

1 PHONOLOGICAL FEATURES IN ROBERT FROST S FIRE AND ICE AND NOTHING GOLD CAN STAY POEMS AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By HADRIAN KUSUMA ASMARA Student Number: DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2018

2 PHONOLOGICAL FEATURES IN ROBERT FROST S FIRE AND ICE AND NOTHING GOLD CAN STAY POEMS AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By HADRIAN KUSUMA ASMARA Student Number: DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2018 ii

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7 Time is never Waiting For us To Do Something vii

8 This Page is dedicated for CHRISTIAN KUSUMA ASMARA viii

9 ACKNOWLEDGEMENTS First of all, I would like to send my deepest gratefulness to Jesus Christ for all blessing during and after the process of writing this thesis. I thank Him because He has accompanied me through my family and my friends who always support me in every situation I have. Secondly, I would like to extend my gratitude to my thesis advisor, Arina Isti anah, S.Pd., M.Hum., for understanding my diffculties, guiding me patiently, and supporting me in finishing my thesis. She patiently read my writing and gave me suggestions that made this writing a success. Thridly, I also would like to thank my co-advisor, Dr. Bernadine Ria Lestari, M.Sc. who gives me lots of advices and suggestions that make my thesis better. Fourthly, I would thank my parents, my brothers, my girlfriend, Irene Putri, for all of their support so I can finish my thesis. Next, I would also thank all my lovely best firends Alex, Ega, Adong, Sharon, Siska, Bella, and Nadia, who always support me to do my thesis, all my Kopma friends, Inno, Wisnu, Satya, Niko, Malolo, Garda, and Magot, who always accompanies me in playing Vainglory when I am down. Finally, I would like thank all of my friends in English Letters of 2014 for the encouragement so that I manage to finish this thesis. Hadrian Kusuma Asmara ix

10 TABLE OF CONTENTS TITLE PAGE... ii APPROVAL PAGE... iii ACCEPTANCE PAGE... iv LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH... v STATEMENT OF ORIGINALITY... vi MOTTO PAGE... vii DEDICATION PAGE... viii ACKNOWLEDGEMENTS... ix TABLE OF CONTENTS... x LIST OF TABLES... xii ABSTRACT... xiii ABSTRAK... xiv CHAPTER I: INTRODUCTION... 1 A. Background of the Study... 1 B. Problem Formulation... 5 C. Objectives of the Study... 5 D. Definition of Terms... 6 CHAPTER II: REVIEW OF LITERATURE... 8 A. Review of Related Studies... 8 B. Review of Related Theories Stylistics Phonology Poem C. Theoretical Framework CHAPTER III: METHODOLOGY A. Object of the Study B. Approach of the Study C. Method of the Study Data Collection Data Analysis CHAPTER IV: ANALYSIS RESULTS AND DISCUSSIONS A. Phonological Features in Robert Frost s Fire and Ice and Nothing Gold Can Stay x

11 1. Fire and Ice Poem Nothing Gold Can Stay Poem B. Phonological Feature s contribution to Robert Frost s style CHAPTER V: CONCLUSION REFERENCES APPENDICES A. Appendix 1: Fire and Ice Poem B. Appendix 2: Nothing Gold Can Stay Poem xi

12 LIST OF TABLES Table 1. Assonance Found in Fire ad Ice Table 2. Alliteration Found in Fire and Ice Table 3. Consonance Found in Fire and Ice Table 4. Rhyme Found in Fire and Ice Table 5. Metrical Pattern Found in Fire and Ice Table 6. Assonance Found in Nothing Gold Can Stay Table 7. Alliteration Found in Nothing Gold Can Stay Table 8. Consonance Found in Nothing Gold Can Stay Table 9. Rhyme Found in Nothing Gold Can Stay Table 10. Metrical Pattern Found in Nothing Gold Can Stay xii

13 ABSTRACT ASMARA, HADRIAN KUSUMA. (2018). Phonological Features in Robert Frost s Fire and Ice and Nothing Gold Can Stay Poems. Yogyakarta: Department of English Letters, Faculty of Letters, Universitas Sanata Dharma. Style is a primary aspect of any literary piece of writing. One example of literary works is poem. In stylistics, the style of a poem can be analyzed through several aspects, one of which is through its sounds. Subsequently, the use of sound in a poem can be used to see the style of the author. In the case of sound, there is an overview of the sound system in the language by means of phonology. Phonological rules can show the analysis of sound production changes. Phonology has some interesting type of data to analyze. One of which is literary works, especially poetry. This study has two objectives to discuss. First, the writer presents phonological features found in Robert Frost s Fire and Ice and Nothing Gold Can Stay. Second, the writer finds Robert Frost style in making the poems through the phonological features that are found. This research employed a stylistic approach to analyze the phonological features found in the poems and find Frost s style in making his poems. The population study was employed to take the data. From the discussion, the writer found out that Fire and Ice had ABAABCBCB end rhyme pattern, which included /aɪə/,/aɪs/, and /eɪt/ rhyme sounds, and it used masculine rhyme. It was written in iambic tetrameter and iambic dimeter. The front high lax vowel /ɪ/ and the diphthong /aɪ/ dominate the repetition of vowel sound. The alveolar voiceless consonant /s/ is mostly repeated in the beginning of the words, while the alveolar voiceless consonant /t/ is the only sound repeated in the end of the words. Meanwhile, Nothing Gold Can Stay had AABBCCDD end rhyme pattern, which included /əʊld/,/aʊə/,/i:f/, and /eɪ/ rhyme sound, and it also used masculine rhyme. It had couplet verse. It was written in iambic trimester and unmetrical pattern. The repetition of vowel sound is dominated by the diphthong /əʊ/ and the front high tense /i:/. This poem has five repetitions of initial consonant sound and each repetition has a different consonant. On the other hand, there are three repetitions of final consonant sound in this poem and each repetition also has a different consonant. The writer also found the style of Robert Frost in making his poems. The writer found that Robert Frost has a rhythmical style in making his poems. As the final point, there are three points that can be concluded. First, this research showed that linguistic analysis could be used to analyze literary text. Second, this research also found that Robert Frost used phonological features in making his poems. Last, this research also found Robert Frost style in making his poems. Frost has a rhytmical style in making his poems. Keywords: stylistics, phonology, poem, phonological features xiii

14 ABSTRACT ASMARA, HADRIAN KUSUMA. (2018). Phonological Features in Robert Frost s Fire and Ice and Nothing Gold Can Stay Poems. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma. Style adalah aspek utama dari setiap tulisan sastra. Salah satu contoh karya sastra adalah puisi. Dalam Ilmu Stilistika, gaya sebuah puisi dapat dianalisis melalui beberapa aspek, salah satunya melalui bunyinya. Selanjutnya, penggunaan bunyi dalam sebuah puisi dapat digunakan untuk melihat gaya dari pengarangnya. Dalam hal bunyi, terdapat gambaran umum tentang sistem suara dalam bahasa yaitu fonologi. Aturan fonologis dapat menunjukkan analisis perubahan bunyi yang diciptakan. Fonologi memiliki beberapa tipe data yang menarik untuk dianalisis. Salah satunya adalah karya sastra, khususnya puisi. Penelitian ini memiliki dua tujuan untuk dibahas. Pertama, penulis mencoba menyajikan fitur fonologis yang ditemukan di "Fire and Ice" dan "Nothing Gold Can Stay" karya Robert Frost. Kedua, penulis mencoba menemukan gaya dari Robert Frost dalam membuat puisi melalui fitur fonologis yang ditemukan. Penelitian ini menggunakan pendekatan ilmu stilistika untuk menganalisis fitur fonologis yang ditemukan di dalam data puisi dan untuk mengetahui gaya dari Frost dalam menulis puisinya. Dari hasil pembahasan tersebut, penulis menemukan bahwa puisi Fire and Ice memiliki pola sajak yang berakhiran ABAABCBCB, yaitu bunyi sajak /aɪə/,/aɪs/, dan /eɪt/, dan puisi ini menggunakan sajak maskulin. Puisi ini ditulis dalam iambic tetrameter dan iambic pentameter. Vokal front high lax /ɪ/ dan diphthong /aɪ/ paling banyak muncul di pengulangan bunyi vokal. Konsonan alveolar voiceless /s/ paling banyak muncul di awal kata, sedangkan konsonan /t/ merupakan satu-satunya konsonan yang diulang di akhir kata. Sementara itu, puisi Nothing Gold Can Stay memiliki pola sajak yang berakhiran AABBCCDD, yaitu /əʊld/,/aʊə/,/i:f/, and /eɪ/, puisi ini juga menggunakan sajak maskulin. Puisi ini memiliki bait couplet. Puisi ini ditulis dalam iambic trimeter dan meter yang tidak berpola. Pengulangan bunyi vokal didominasi oleh diphthong /əʊ/ dan vokal front high tense /i:/. Puisi ini memiliki lima pengulangan bunyi konsonan awal dan tiap pengulangan memiliki konsonan yang berbeda. Terdapat juga tiga pengulangan bunyi konsonan di akhir kata dalam puisi ini dan tiap pengulangan juga memiliki konsonan yang berbeda. Penulis juga menemukan gaya dari Robert Frost dalam membuat puisinya. Penulis menemukan bahwa Robert Frost memiliki gaya yang berirama di dalam membuat puisinya. Pada akhirnya, ada tiga poin yang dapat disimpulkan. Pertama, penelitian ini menunjukkan bahwa analisis linguistik dapat digunakan untuk menganalisis teks sastra. Kedua, penelitian ini juga menemukan bahwa Robert Frost menggunakan fitur fonologis dalam membuat puisinya. Terakhir, penelitian ini juga menemukan gaya Robert Frost dalam membuat puisinya. Frost mempunyai gaya yang berirama di dalam membuat puisinya. xiv

15 CHAPTER I INTRODUCTION A. Background of the Study Language is an essential thing for human life. It is a primary medium for people to communicate their feelings or ideas and to interact to each other. It initiates people to deliver and understand messages. As the time elapses, language has developed. Language becomes important for human beings. Jakobson (1960) states that there are six basic functions of language, they are referential (oriented toward the context), emotive (oriented toward the addresser), phatic (serves to establish mutual agreement on the code), conative (oriented toward the addressee), metalingual (to establish mutual agreement on the code), and poetic (puts the focus on the message )(p.365). It can be concluded that language is useful for human beings. Human needs language to communicate with each other. The six function of language stated by Jakobson shows that language has its function to help people deliver or receive messages. One of them is poetic function which puts the focus on the message and this function usually used in a poem. Human being s life and language are interrelated. Language makes humans different from other creatures in this world. Language is used through written and spoken ways. In written language, it can be represented into nonliterary and literary works. Non-literary works, such as news article, magazine, and textbooks, are often discovered in daily life. Literary works, such as short 1

16 2 stories, prose, plays, novels, and poetry which can be found and appreciated in daily life. Human life s representation is believed to be described in literary works. Some of literary works are created as a reflection of what happens in the society. One of the example is Caged Birds poem by Maya Angelou. In this poem Angelou describes about Afro American life s that does not have freedom to perform and give their mind. The life of birds which are caged is the picture of their life. The poem depicts about racism and inequality that Afro American people experienced. Literary works also reflect the writer s personal life experience. For example, Billy Collins poems, entitled The Best Cigarette, tells about his personal experience in several occasions with action of smoking. Literary studies discuss literary works through various literary criticisms. The result of literary work uses many distinctive approaches, which can expose some different meanings and interpretations in observing the same literary work as its data. Meanwhile, Simpson states that literature offers the chance to explore language that is out of the ordinary, language which is often the preeminent embodiment of the creative spirit (2004, p.98). According to Simpson s statement, it can be said that literature through literary texts has many sources to be analyzed in language study because it provides unusual language. Therefore, in language studies, literary work can be analyzed through its lexical, grammar, phonological, and graphological which are included in stylistics. Wales states that besides to describe the language features of texts, stylistics also give the readers

17 3 an idea about the interpretation of texts, or link literary effects to linguistics causes in which they are relevant (1991). Style is a primary aspect of any literary piece of writing. Leech and Short (2007) state that the word style has a fairly uncontroversial meaning: it refers to the way in which language is used in a given context, by a given person, for a given purpose, and so on (p.9). The general meaning of style is the manner or mode but the literary meaning of style refers to how a writer s thoughts take the shape of words. The style of literary work is discussed by using stylistics as the approach. Stylistics is a branch of linguistics which deals with different styles of texts. Verdonk (2002) states that the description of language s intention and effect are also the concern of stylistics, except the expression in language. It is reinforced by Al Shawa (2015) who states that stylistics is a study that looks at the text in detail and analyzes the significant language forms for interpretation. It means that stylistics concerns on the study and the interpretation of text from a linguistic perspective. Some different language devices, that are graphological, phonological, lexical, and grammatical, are projected to be observed in stylistics. In this research, the writer applies the phonological level of analysis which covers meter, rhyme, assonance, consonance, and alliteration. To be specific, this research aims to analyze the phonological level of poems. The poems observed in this study were written by Robert Frost entitled Fire and Ice and Nothing Gold Can Stay.

18 4 Robert Frost, an American poet, was born in San Francisco, California in He moved to New England when he was child after his father s death. After that because of the difficulties of financial, he moved to England (The United Kingdom) in the age of 38. In 1924, he received his first Pulitzer Prize for his book of poems: New Hampshire. Fire and Ice and Nothing Gold Can Stay are two of the poems included in New Hampshire part (Robert Frost, 2016). Fire and Ice was written in 1920, meanwhile Nothing Gold Can Stay was written in Fire and Ice talks about the fate of the world, Fire is to symbolize the desire and Ice is to symbolize the hate (Robert Frost: Poems Summary and Analysis of Fire and Ice, para.1). The next one is Nothing Gold Can Stay which tells about the leaves that start to show in the season of spring are perceived as gold, but soon turn to familiar green and before too long they're fading as victims time (Spacey, 2017, para.3). There are two reasons that make the writer pay considerable attention to the poems and interest to make it the object of the study. The first writer s reason in writing this research is because the writer aims to use language study in analyzing literary work, which is different from most researchers who usually use literary criticism in analyzing literary work. His adherence to meter, line length, and rhyme scheme is the second reason why the writer chooses Robert Frost. Robert Frost holds a unique and almost isolated position in American letters. He never completely abandoned conventional metrical form for free verse, as so many of his contemporaries were doing. He is special. His adherence to meter, line length, and rhyme scheme was

19 5 not an arbitrary choice. He believed that the poem s particular mood dictated or determined the poet s and the first commitment to make a poem are about meter and length of line (Robert Frost, 2017, para.3). The writer aims to observe the style of Robert Frost in making poems. The writer chooses Fire and Ice and Nothing Gold Can Stay, which both are in the same part of the book entitled New Hampshire which made him receive his first Pulitzer Prize. Therefore, this research employs a specific study as the principal of theoretical grounds. The approach used in this research is stylistics. Stylistics in this research will give a profound understanding towards the phonological level in Fire and Ice and Nothing Gold Can Stay poems. The research overwhelms rhymes, meters, alliterations, assonances, and consonances which are found in the poems. B. Problem Formulation There are two problems that will be discussed in the study. The problems are presented as the following: 1. What phonological features are used in Robert Frost s Fire and Ice and Nothing Gold Can Stay poems? 2. How do those features constitute the style of Robert Frost? C. Objectives of the Study There are two objectives that will be analyzed in this research. The first goal is to find out profoundly the phonological features that are used in Robert

20 6 Frost s Fire and Ice and Nothing Gold Can Stay poems. There are some phonological features that are found in these poems that are the rhyme, the meter, the consonances, the assonances, and the alliterations. The research aims to see the phonological features that are found in each poem. The second goal is to find out the style of Robert Frost. The research aims to observe Robert Frost s style in making poems through the phonological features that are used in his Fire and Ice and Nothing Gold Can Stay. D. Definition of Terms This part will clarify the definition of certain terms that are used in the research. The terms overwhelm style, phonological feature, and poems. The first terminology is style. Style influences the characteristics given to stylistics as one of several linguistic disciplines. It describes the way of person s speaking and writing. Style has an uncontroversial meaning, according to Leech and Short, it refers to the way in which language is used in a given context for a given purpose and by a given person (2007, p.9). Style is also a description of an aspect of language that deals with choices of diction, phrases, sentences, and linguistic materials. The different of choices will produce different style and different effect. The second terminology is phonological features. According to Crystal (2008), phonology is a branch of linguistics which studies the sound systems of language (p.365). It means that phonology contains a study of language to determine its distinctive sounds, its sound structure, and pronunciation. In linguistics, feature is a term used to refer to any typical or noticeable property of

21 7 spoken or written language (Crystal, 2008, p.186). It means that phonological feature is one of term of the various levels of linguistic analysis that studies the term of sound systems of language. In this research, it will discuss the phonological features in the poems that overwhelm rhyme and meter (suprasegmental features of poetry), alliteration, consonance, and assonance (segmental features in poetry). The third terminology is poem. Literature refers to novel, poetry, fictions, plays which have artistics qualities. Arp and Johnson stated that poem might be defined as a kind of language that says more and says it more intensely than does ordinary language (2009, p.633). Therefore, it can be said that poem is one of literary work which bring the reader a sense and a perception of life, and it concern is with experience.

22 CHAPTER II REVIEW OF LITERATURE A. Review of Related Studies In this part, the previous studies of several people who researched about styles of language that are used in the poem are displayed. There are four studies from the previous researches that contribute to this research. They help this research to develop ideas of the topic. The first research is entitled John Keats s La Belle Dame Sans Merci : A Stylistic Analysis by Al Shawa (2015). There are three purposes that Al Shawa focuses on. Firstly, Al Shawa s research tries to identify the stylistic markers of Keat s La Belle Dame Sans Merci. Secondly, it tries to study how stylistic devices used to achieve the communicative purpose of Keat s La Belle Dame Sans Merci. Thirdly, Al Shawa s study identifies the functional style that the poem is representative of. The object of the research is taken from John Keat s poem, entitled La Belle Dame Sans Merci. In order to analyze the data, Al Shawa uses stylistic approach since stylistics can be used for both non-literary texts and literary texts. Al Shawa decides to focus on analyzing the text of the poem on four different levels of stylistics: grammatical, graphological, morphological, and phonological. The contribution of his study into this research lies on the analysis of the phonological features. In phonological level analysis, Al Shawa observes the employment of meter, alliteration, consonance, assonance, repetition, and rhyme 8

23 scheme in John Keat s La Belle Dame Sans Merci. In his analysis, Al Shawa finds that John Keat s La Belle Dame Sans Merci has a steady rhythm that creates underlying beat and masculine rhyme scheme. The alliteration and consonance makes layers of sound that work like harmony in music. He also finds that the poem s meter is iambic tetrameter and has standard schematic (ABCB). In concluding his phonological analysis level, Al Shawa mentions that the use of certain phonological devices in the poem is able to create auditory imagery of the poem. The difference between Al Shawa s research and this research lies on the discussion and the object of the study. This research analyzes the poems that are written by Robert Frost entitled Fire and Ice and Nothing Gold Can Stay, yet Al Shawa analyses John Keat s poem which entitled La Belle Dame Sans Merci. In his analysis, Al Shawa observes the text of the poem in four different levels of stylistics, which are grammatical, graphological, morphological, and phonological. By analyzing the poem through four different levels of stylistics, Al Shawa can find the style of John Keat s poem. Therefore, this study is more specific in terms of analyzing the style of Robert Frost through its phonological features. The second research is entitled Phonology and Stylistics: A Phonaesthetic Study of Gray s Elegy Written in a Country Churchyarrd by Bassey Garvey Ufot in Ufot states that his research is a stylistic study of the phonological features of Thomas Gray s Elegy Written in a Country Churchyard such as phonaesthetic and prosody (2013). The purpose of his research is to give a 9

24 10 detailed investigation of all the phonaesthetic devices in the poem which support the meaning of the poem. The object of his research is taken from Thomas Gray s poem, entitled Elegy Written in a Country Churchyard. Furthermore, in his analysis, Ufot looks at the syllabification, meter, rhyme, elision, onomatopoeia, alliteration, assonance, and consonance to support the meaning of the poem. Ufot concludes that the poem shows melodic contemplation about the possibilities for virtuous living and greatness among simple, rural people (Ufot, 2013, p.125). From the findings, he found that the preponderance of these phonological features and their phonaesthetic qualities makes Gray s Elegy Written in a Country Churchyard more of a contemplative poem of eulogy (panegyric) rather than a traditional elegy. The contribution of his study into this research lies on the use of the theories. The theories that are used are phonology and stylistics. His research employs metrical phonological theories from Stallworthy, Wales, Katamba, Leech, and Roach which can help the writer in this study to appraise the suprasegmental features of poetry such as rhyme, meter, alliteration, assonance, and consonance. As a result, the writer aims to conduct the similar research with the same theoretical grounds on a different object. Ufot s research uses Thomas Gray s poem which is entitled Elegy Written in a Country Churchyard, yet this research uses the poems from Robert Frost which are entitled Fire and Ice and Nothing Gold Can Stay. The third research is written by Isti anah in 2017, which is entitled Stylistic Analysis of Maya Angelou s Equality. In her study, Isti anah aims to carry out a

25 11 stylistic analysis of Maya Angelou s Equality. There are some language levels that Isti anah observed, which are the phonological, graphological, grammatical, and semantic levels. The findings of her research show that each of the elements has identifiable functions which contribute to the effective meaning of freedom in Maya Angelou s Equality. She concludes that stylistics is applied to analyze literary work so that the appreciation to it can be achieved. Isti anah s study helps the writer on the theory that she used and the analysis of stylistics which include a phonological level theory of stylistics and analysis in it. This research has a different perspective from Isti anah s research in terms of discussion and object. Isti anah analyzes the stylistics analysis which can contribute to observe the meanings of Maya Angelou s poem Equality through all of stylistic elements. However, this research has more focuses on phonological level of stylistic to find out Robert Frost style through his poems. The last research that is related to this study is Flores Phonological Features of Basilectal Philippine English: An Exploratory Study (2016). In her study, Flores aims to describe the result of a data-based investigation of the phonology of the basilectal Phillipne English as a response to Tupaz. The findings of her study provide a description of the phonological features of marginalized voices that include minimally functionally literat Filipinos. She concludes that the segmental and suprasegmental level from the Cebuano speakers from a region do not diverge much from the General American English pattern. This current study is different from Flores study. The difference lies on the object and the discussion of the study. Flore s study focuses on basilectal

26 12 Phillipine English which discuss about the stress, consonance, and vowels, while this study present the phonological features on the poem which is written by Robert Frost. This study focuses on phonological features in literary work that overwhelm rhyme, meter, alliteration, consonance, and assonance. This study will develop the theories about phonological features. The writer will discover phonological features through literary work. B. Review of Related Theories In this part, the theories associated with stylistics, phonology, poetry, and the poetry of Robert Frost will be presented in the following discussions. 1. Stylistics Stylistics can be defined as the study of style in language. Style in language is a set of conscious or unconscious choices of expression, inspired or induced by a particular context (Verdonk, 2002, p.21). According to Verdonk (2002), stylistics itself is the analysis of distinctive expression in language and the description of its purpose and effect (p.4). Concurring with Verdonk, Leech & Short state that stylistics describes what use is made of language in order to explain something (2007, p.11). It is supported by Simpson (2004, p.2) who defines stylistics as a method of textual interpretation in which primacy of place is assigned to language. It can be concluded that language is the most important thing to explore stylistics because it contains various forms, patterns, and levels that represent linguistic structures to lead to the entrance of interpretation.

27 13 Short (1996, p.5) states the concern of stylistics is about linguistic description and meaning (interpretation) and those must be interrelated explicitly. It can be said that stylistics relates the linguistics descriptors to interpretation. He also adds that analyzing linguistic structure at various level (grammar, sounds, words, textual structure) helps to understand the sentences of the text and the relations between them (p.5). Furthermore, linguistic description turns to be the essential part of a good criticism when it relates to interpretation. Short argues that it constitutes a large part of what is involved, say, in supporting a particular view of a poem of arguing for one interpretation as against another (1996, p.5). A shared knowledge of English structure and the common procedures of inference employ to interpret utterances. Besides the part of good criticism, conducting stylistics also shares other purposes. The first used of stylistics is to uncover authrial styles, text styles, and other kinds of styles and to recognize that style and meaning are inextricably linked with one another (Short, 1996, p.27). Secondly, stylistics is used to explore language and creativity creativity in language use, and enriches the ways of thinking about language to help in understanding the text (Simpson, 2004, p.3). The scopes of stylistics are so wide, it reaches some types of texts, and for example advertisements, slogans, and newspaper articles, yet literary text is dealt the most in stylistics, which is called literary stylistics. Literary stylistics itself strives to explain the relation between language and artistic function (Leech & Short, 2007, p.11). As cited in Costa (2015), Leech (1985) defines stylistics as the

28 14 study of the language usage in literature in which the general language characteristics particularly in the English language are investigated as a means of literary expression. Finally, stylistics can indicate the themes of the literary text in large-scale features because stylistics has some level of analysis to observe it. In stylistics, grammar, words, textual structure, and sound can be observed with its level of analysis. One of them is phonological level of stylistic that observes the phonological feature of literary work especially in a poem. 2. Phonology Phonology is the study of sound system of a particular language. It is supported by Simpson (2004, p.6) who states that phonology encompasses the meaning potential of the sounds of spoken language. The analysis of this part relates to the rules of pronunciation. Simpson also adds that this deals with the issue of sound patterning in literature (p.15). As what Verdonk has analyzed in the poem of Seamus Heaney, he found that the poem will be the example of analyzing phonological level. The German word Brecht was pronounced as /brekt/ which is formed a perfect rhyme with affect. In the other hand, /brek/ ruins the rhyme scheme, which is also suggestive of the mother s contrariness (2002, p.59). Jeffries and Mclntyre state that the task of stylistic in this level is to break down the phonological features of poetic style (2010, p.35). Phonological devices

29 15 are obtained through the repetition exhibited, such as in rhyme, metre, alliteration, consonance, and assonance. a. Rhyme Rhyme is one of supra-segmental features in poetry. The use of repetition combinations of sound in rhymes can attract the listener or reader attention. Jeffries and Mclntyre (2010) describe that rhyme, the more recognizable of these patterns, most typically occurs when there are two (or more) words which end with a stressed syllable, where the vowel and the final consonant are the same (p.38). In line with Jeffries & Mclntyre, Ufot describes rhyme as the repetition of the arrangement of the nucleus (vowel) and coda (final consonant) at the ends of two or more lines of a verse (2013). There are two main basic types of rhyme, which are masculine rhyme and feminine rhyme. Masculine rhyme is the rhyme produced when the words are monosyllabic like bear and bare. While feminine rhyme is a rhyme produced when the words are polysyllabic like in the words horner and corner. In the feminine rhymes, the last syllable is unstressed (Gill, 1995, pp ). Arp and Johnson adds that masculine rhyme is a rhyme in which the repeated accented vowel sound is in the final syllable of the word (2009, p.1664). In addition to these main types of rhyme, as what has been summarized by Boulton (1982, p ,144,147), there are also some forms of verse which determine rhyme scheme. First, Blank Verse is a sequence of rhymed iambic pentameters. Second, Heroic Couplet which is an iambic pentameter lines rhyming in pairs. Third, Couplets verse which does lines rhyme in pairs with any

30 16 meter. Fourth, Triplets verse which has three sets lines rhyming in any meter. Then, a poem of fourteen iambic pentameter lines which called Sonnet Verse. Moreover, there are Terza Rima and Ottava Rima verse. Terza Rima is an iambic pentameter which is rhyming aba bcb cdc ded and ending with a quatrain or couplet to avoid leaving one word unrhymed. While, Ottava Rima is an eight lines of iambic pentameters rhyming abababcc. Next, Spenserian Stanza, which is an eight lines of iambic pentameters followed by one iambic hexameter (Alexandrine) and rhyming ababbcbcc. Then, seven lines of iambic pentameters rhyming ababbcc which called Rhyme Royal. After that, Ballade which means three stanzas of eight or ten lines each, with four of five lines at the end, known as the envoy, using three or four rhymes only in the same order in each stanza and with exactly the same line concluding each stanza and the envoy. The last is Free Verse, it is an unrhymed verse without a traditional metrical form. Therefore, rhyme cannot be separated from poetry. Rhyme in poetry becomes a very crucial element in the music of such verse, reinforcing the memorable quality of poetry. The relationship of meanings between words is emphasized by the relationship of rhyme. Gill (1995) points that when the words rhymed are important, the whole meaning of the poem can be focused (p.391). b. Meter In analyzing poetry through its phonological level, meter is also important to observe. Meter is one of supra-segmental feature in poetry. Gill (1995) defines that meter is the regular rhythms of poetic lines, created by a sequence of stressed or unstressed syllables (p.387). It is supported by Haynes in Carter and

31 17 Simpson (2005, p.235) who states that There is a temptation to see meter wholly in terms of phonological schemes, i.e. as a matter of how many stresses and syllables are permitted in a line of verse. The stressed and unstressed syllables in poetry which is defined as meter are associated with foot. Haynes in Carter and Simpson (2005) explains that meter focuses on the foot, The foot is a pulse, or stress, falling on one syllable in words which are important from the point of view of content (p.238). In analyzing the meter, the presence of the foot inside the line is very important to determine the type of meter. Simpson (2004) defines that In metrics, the foot is the basic unit of analysis and it refers to the span of stressed and unstressed syllables that forms a rhythmical pattern (p.15). The number of their constituent stressed and unstressed syllable specify the metrical feet of the line. There are some types of the metrical feet which most commonly used. Arp and Johnson (2009, p.839) stated that there are five types of foot in poem, which are iambic foot, trochaic foot, anapestic foot, and dactylic foot. The unstressed and stressed syllables in this type of foot is presented in ( X ) for unstressed syllables and ( / ) for stressed syllables : 1) Iambic foot Iambic foot has two syllables which the first is unstressed and the second is stressed syllable, and represented in X / to show the stressed and unstressed syllable. Examples include: i. It was the best of times it was the worst of times X / X / X / X / X / X /

32 18 ii. That time of year thou may st in me behold X / X / X / X / X / 2) Trochaic foot Trochaic foot has two syllables which the first syllable is stressed and the second is unstressed, and it is represented in / X to show the unstressed and stressed syllable. For example : i. London bridge is falling down / X / X / X / ii. There they are my fifty men and women / X / X / X / X / X 3) Anapestic foot Anapestic foot has three syllables which the first and the second syllables are unstressed, continued with the last stressed syllable, it is represented in X X / to describe the two unstressed syllables which are followed by one stressed syllable. Examples are: i. The Assy rian came down like a wolf on the fold X X / X X / X X / X X / ii. But I hate to be cheat ed and ne ver will buy X X / X X / X X / X X / 4) Dactylic foot Dactylic foot has three syllables, reverse with Anapestic foot. In dactylic, the first syllable is stressed, while the second and the third syllables are

33 19 unstressed, it is represented in / X X to describe the first stressed syllable which is followed by two unstressed syllables. Example include : i. Take her up tenderly lift her with care / X X / X X / X X / ii. Eve with her basket was deep in the bells and grass / X X / X X / X X / X X 5) Spondaic foot Spondaic foot has two syllables which the two of the syllables are stressed, and it is represented in / / to show the two stressed syllables. For example: i. Heart break / / ii. Draw back / / In addition to the type of metrical feet, there are also the numbers of feet in each line. Arp and Johnson (2009, p.839) summarizes several types of meter in English. The division of each foot is symbolized by ( ) sign : 1) Monometer (one foot), for example:: i. Receive X / (iambic, one foot) ii. Understand X X / (anapestic, one foot) 2) Dimeter (two feet), examples include: i. I woke up on a boat

34 20 X X / X X / (anapestic, two feet) ii. I sing of brooks X / X / (iambic, two feet) 3) Trimeter (three feet) i. It was the best of times X / X / X / (iambic, three feet) ii. The Assy rian came down like a wolf X X / X X / X X / (anapestic, three feet) 4) Tetrameter (four feet) i. Timothy Garrison wanted to simplify / X X / X X / X X / X X (dactylic,four feet) ii. But I love to be cheat ed and ne ver will buy X X / X X / X X / X X / (anapestic,four feet) 5) Pentameter (five feet) i. I sing of brooks of blos soms birds and bowers X / X / X / X / X / (iambic,five feet) ii. It is the east and Ju liet is the sun X / X / X / X / X / (iambic,five feet) 6) Hexameter (six feet) i. This is the forest pri meval, the murmuring pine and the hemlocks / X X / X X / X X / X X / X X / X X (dactylic, six feet)

35 21 ii. Rousing the girl, in her sleep in the sight, form the fear of the bed tick / X X / X X / X X / X X / X X / / (dactylic, six feet) The most common form of meter in poetry written in English is iambic pentameter which has five feet and each feet composed by two syllables (unstressed, stressed). c. Alliteration, Consonance, and Assonance The further analysis of phonological level is about the other poetic devices like assonance, consonance, and alliteration. The employment of assonance, consonance, and alliteration is refered to segmental sound features. These sound strategies repeat some particular sounds whether they are consonants or vowels. 1) Alliteration According to Arp and Johnson (2009), alliteration is the repetition of initial consonant sounds (p.820). It is supported by Bradford who defines alliteration as the repetition of clusters of similar consonant sounds within individual lines and across sequences of lines (2005, p.16). Agemo (2011, p.21) adds that alliteration is the repetition of the initial consonant in two or more adjacent words. It can be concluded that alliteration occurs when the initial consonant sound of some couples of words is repeated. For example, She sells sea-shells down by the sea-shore. In this phrases, all the words start with the /s/ sound.

36 22 2) Consonance Consonance is nearly similar to alliteration. Alliteration repeats the initial consonant sounds, while consonance repeats the final consonant sounds. Madden (2002) states that consonance occurs when some couples of consonant sounds are repeated (p.70). It is supported by Arp and Johnson (2009) who state that consonance is the repetition of final consonant sound (p.820). It can be concluded that consonance occurs when the final consonant sound of some couples of words is repeated. For example, If you are a dreamer, a wisher, a liar, a hope-er, a pray-er, a magic bean buyer. In that one of poem s line, the consonant sound of / r / is repeated in the end of the words. 3) Assonance The other segmental sound feature that can be found in the poem is assonance. Simpson mentions that the type of vowel harmony that consolidates points of equivalence across the poetic line, known as assonance (2004, p.52). Bradford (2005) explains that assonance is the repetition of clusters of similar vowel within individual lines and across sequences of lines (p.16). When the same vowel sound is repeated in adjancent words, it is called as assonance, for example Fake mates (McLoughlin, 2000:21). In that example, the vowel sound of / eɪ / is repeated in the words. 3. Poem Arp and Johnson state that poetry might be defined as a kind of language that says more and says it more intensely than does ordinary language (2009,

37 23 p.633). Therefore, it can be said that poetry is one of literary works which brings the reader a sense and a perception of life, and it concern is with experience. Literary language and poetry as a part of it use the poetic function to make the language more beautiful. Jakobson (1987) states that poetic function relates to the aesthetic and artistic aspects of language, it is also mainly used in literature and poetry (pp.72-73). To study literature, is to study poetics, which is an analysis of a work s constituent parts, its linguistic and structural features, or its form (Bresseler, 2007, p.51). Bresseler adds that form is called devices which include the artfulness and literariness of any text. It can be concluded that poetic devices are the methods of arrangement of the words which can assist the writer in developing expressions pleasing to his readers. Some poetic devices are based on the sound instrumentation of the text which connotes a certain atmosphere or mood. C. Theoretical Framework According to the theories that have been discussed, the focus of this study is on the phonological level of stylistics. Therefore, there are two main points to be analyzed in this study. The first point is the phonological features found in Fire and Ice and Nothing Gold Can Stay poems and the second point is the feature contribution to Robert Frost s style in making poems. The theory of the phonology is needed to answer the first point. The researcher uses the phonological levels of analysis in stylistics proposed by Verdonk (2002). The analysis will cover the phonological features of analysis

38 24 such as rhyme, meter, alliteration, consonance, and assonance. These phonological devices help the writer to guide what phonological features are found in the poems. Moreover, to answer the second point, the result of the problem in the first point will be related to the style of Robert Frost in making poems. The result of the first problem will cover rhyme, meter, alliteration, consonance, and assonance. From the result of the first point, the style of Robert Frost will be analyzed by relating those phonological features with the definition of poem and Robert Frost s poem. As a result, this study will find the style of Robert Frost in making poem through the phonological features of his Fire and Ice and Nothing Gold Can Stay.

39 CHAPTER III METHODOLOGY This chapter is divided into three parts. They are object of the study, approach of the study, and method of the study. The object of the study emphasizes linguistic features that will be analyzed based on the data. The approach of the study describes what kind of approaches that is used to analyze the linguistic features. The method of the study shows the ways of collecting and analyzing the data. A. Object of the Study The object in the research focused on poems by Robert Frost. In this research, the writer used two of Robert Frost s poems: Fire and Ice and Nothing Gold Can Stay. Those two poems were obtained from New Hampshire. This book was published in 1923 by Henry Holt & amp Company. The first poem, Fire and Ice, has one stanza which consists of nine lines. On the other hand, the second poem, Nothing Gold Can Stay, has one stanza which consists of eight lines. The objects of the study are focused on the phonological level of stylistics which overwhelmed the analysis of suprasegmental sound features (rhyme and meter) and segmental sound features (alliteration, consonance, and assonance). In rhyme, the data covered the repetition of the arrangement of the nucleus (vowel) and coda (final consonant) at the end of each line of the poems. In meter, the data 25

40 26 were the types of the metrical feet of each line in the poems. In alliteration, the data related to the repetition of initial consonant words of each poem s line. In consonance, the data covered the repetition of final consonant words of each line in the poems. At last, in assonance, the data covered the repetition of vowel sound in each poem s line. B. Approach of the Study Stylistics became the approach to the analysis of texts (literary). Stylistics is the approach of the analysis of texts (literary) that used linguistic descriptors in which it includes a limit of two subjects, literature and linguistics (Short, 1996, p.1). Stylistic approach is appropriate to use in this research because the data used in this research is literary work. The stylistic approach in this study becomes the groundwork for analyzing two selected poems of Robert Frost. The analysis of this study is made under the aspects of phonological level of stylistics which covers rhyme, meter, alliteration, consonance, and assonance. C. Method of the Study 1. Data Collection This study conducted a data population method which means the similarity in characteristics between one group of statistics (Best, 2006, p.13). In this study, the population was the whole data in two poems of Robert Frost, Fire and Ice and Nothing Gold Can Stay. Moreover, the study aimed to find out the

41 27 phonological features found in two selected poems of Robert Frost. There were several steps of collecting the data. Firstly, the writer came to a decision to analyze Robert Frost s poems. The first consideration to analyze Robert Frost s poems was because the length of poems was shorter than playwright. The second consideration was because Robert Frost is the poet who concerned with meter and length of lines. Then, the writer limited the scope of the study. As Frost concerned with daily life which occurs in his life and his surrounding and also nature, the writer decided to analyze the poems which portray Robert Frost s life and its surrounding. Thirdly, the writer read the book of Robert Frost s poems to search for the poems that would be analyzed. The writer came to a decision to select two poems which was in one book, entitled New Hampshire that made Frost get his first Pulitzer. The sound of the two poems should be rhyming.. 2. Data Analysis In order to analyze the phonological features found in Fire and Ice and Nothing Gold Can Stay poems, the analysis of the study was based on the phonological level of stylistics. It dealt with the rhyme, meter, assonance, and alliteration. There were two research problems which were formulated. Therefore, some steps were employed in the subsequent parts to answer the first problem. First, the writer analyzed the segmental sound features of the poems. It overwhelmed alliteration, consonance, and assonance of the poems. In alliteration, the writer found out the repetition of the initial consonant sound in the two poems.

42 28 In the part of analyzing consonance, the writer observed the repetition of the final consonant sound on the poems. Then, the writer analyzed the assonance of the two poems. The writer found out the repetition of vowel sound which occurred on the two poems. Second, the writer analyzed the suprasegmental sound features of the poems. In this part, the writer analyzed rhyme and meter which occurred in the poems. The analysis of rhyme focused on the repetition of the arrangement of the nucleus (vowel) and the coda (final consonant) at the end of two or more lines in the poems. After the rhymes of the poems were found, the writer analyzed the type of rhyme and the rhyme scheme of the poems. Next, the writer analyzed the meter of the poems. This meter analysis focused on the metrical feet of the poems. The metrical feet consist of the type of foot and the number of feet, such as iambic pentameter, trochaic trimeter, dactylic octameter, etc. Moreover, in order to answer the second problem, the writer obtained the phonological features. Those phonological features have been gained as the results of the first problem. The writer related each phonological feature which occurs in Fire and Ice and Nothing Gold Can Stay poems to reveal the style of Robert Frost in making poems.

43 CHAPTER IV ANALYSIS RESULTS AND DISCUSSIONS This chapter divided into two main parts of discussions. The first part analyzes the phonological features found in Robert Frost s Fire and Ice and Nothing Gold Can Stay poems. It answers the first problem. The second part discusses how those features can constitute the style of Robert Frost in making poems. It answers the second problem of the study. A. Phonological Features in Robert Frost s Fire and Ice and Nothing Gold Can Stay This analysis divided into segmental sound features and supra-segmental sound features. The segmental sound features overwhelm alliteration, consonance, and assonance, while the supra-segmental sound features overwhelm rhyme and meter. The analysis includes the phonetic transcriptions of the words and those are placed inside slash brackets. 1. Fire and Ice Poem a. Segmental Sound Features Robert Frost has used some segmental sound features in Fire and Ice poem. It consists of some sound devices such as alliteration, assonance, and consonance, though most of them only appear as the aesthetic function in the poem. However, it turns out that some sound devices can help the writer to find 29