4th LITERATURE [PDF]

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LEXICAL THEMATIC DIMENSION,VISUAL DIMENSION, RHYTHMIC-ACOUSTIC DIMENSION This Paper is Submitted to Fulfill Introduction to Literature Group Assignment Lecturer : Afif Suaidi, S. S,. M.Hum.



Arranged by : Riska Maulina 181230125 Mansyur AS 181230131 Sekar Septiani 181230144



ENGLISH EDUCATION DEPARTMENT CLASS 4D FACULTY OF EDUCATION AND TEACHER TRAINING STATE ISLAMIC UNIVERSITY SULTAN MAULANA HASANUDDIN BANTEN 2020



PREFANCE



Let us say our praise to Allah SWT for giving us the blessings of faith and health, because that we can finished this paper assignment at the appointed time. Then, shalawat and salam we don’t forget to send it to our prophet Muhammad SAW (PBUH) who has brought the guidance of the path which is always blessed by Allah SWT. The purpose of this paper under the title “Literary Genre; Prose, intrinsic and extrinsic element” is to fulfill the assignment from subject Introduction to Literature, 4th semester of majoring English Education Department faculty of Education and Teacher Training year 2020. While hoping to gain knowledge in learning and to understand the basic values and subject that are reflected in thinking and acting. Next, we would like to express our deep gratitude to all parties who have helped us giving their ideas and thoughts for the realization of this paper. Hopefully by studying this paper we will be able to deal with problems and solve that arise in the learners. Lastly, with the limitations that we have, we realize that this paper is far from perfect. Therefore, we sincerely welcome greetings from readers with open arms for the improvement and improvement of this paper.



Serang, March 4 2020



Authors



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LIST OF CONTENT



PREFANCE ii LIST PF CONTENTiii CHAPTER I INTRODUCTION



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1.1 Background of The Paper



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1.2 Problem Formulation



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1.3 Purpose of The Paper



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CHAPTER II DISCUSSION



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2.1 Lexical Thematic Dimension



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2.2 Visual Dimension 8 2.3 Rhymthmic-Acoustic Dimension 16 CHAPTER III CONCLUSSION 3.1 Conclussion



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3.2 Criticism and Suggestion 22 REFERENCE



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CHAPTER I INTRODUCTION 1.1 Backround of the Paper In English, literature comes from the word "literature" which means literary or literary works can be in the form of drama, novels or poetry. Literature is a source or reference used in various activities in the world of education or other activities. Literature can also be interpreted as a reference that is used to obtain certain information.1 Another opinion says that the literature is a source of information that can be used as a reference by users. In other words, literature does not have to be written, but it can also be in the form of films, recordings, vinyl records, laser disc, and other objects that can provide useful information. According to the ALA Glossary of Library and Information Sciences, the notion of literature is reading material that can be used for various types of activities, both intellectually and recreation. From the definitions explained, the following are some of the functions of the literature: •



To help users find the information they need.



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To gather information that results from analysis or hypotheses.



•



To supplement information or additional information.2 Back in ancient Greece, literature was divided into two main categories:



tragedy and comedy. Nowadays the list of possible types and literature genres can seem endless. But it is still possible to narrow down the vast amount of literature available into a few basic groups. The five genres of literature students should be familiar with are Poetry, Drama, Prose, Nonfiction, and Media—each of which is explained in more detail below.3 Poetry is a form of writing that contains language with quality aesthetics and meaningful content. Poetry can be an outpouring of one's heart and written in 1



https://www.studinews.co.id/pengertian-literatur-beserta-jenisnya/ https://www.maxmanroe.com/vid/umum/pengertian-literatur.html 3 https://www.brighthubeducation.com/homework-help-literature/100292-the-five-main-genres-of-literature/ 2



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beautiful words. Poetry can contain one word or syllable that is repeated over and over again. A brief example of some of William Shakespeare's poetry forms from the poem 'Venus and Adonis': Even like the sun with a purple face Has been ta'en his last leave of a crying morning, Rose-cheek Adonis persuaded him to chase; Hunting she loves, but love she laughs to pout; Ill-minded Venus redeemed it, And like a young-faced woman dare to propose to him. And like a bold-faced suitor 'gins to woo him. This is often considered the oldest form of literature. Before writing was invented, oral stories were commonly put into some sort of poetic form to make them easier to remember and recite. Poetry today is usually written down but is still sometimes performed. A lot of people think of rhymes and counting syllables and lines when they think of poetry, and some poems certainly follow strict forms. But other types of poetry are so free-form that they lack any rhymes or common patterns. There are even kinds of poetry that cross genre lines, such as prose poetry. In general, though, a text is a poem when it has some sort of meter or rhythm, and when it focuses on the way the syllables, words, and phrases sound when put together. Poems are heavy in imagery and metaphor and are often made up of fragments and phrases rather than complete, grammatically correct sentences. And poetry is nearly always written in stanzas and lines, creating a unique look on the page.4



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https://www.brighthubeducation.com/homework-help-literature/100292-the-five-main-genres-of-literature/



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1.2



Problem Formulation



A. What is Lexical Thematic Dimension ? B. What is Visual Dimension ? C. What is Rhythmic-Acoustic Dimension? 1.3 Purpose of the Paper A. To know what is Lexical thematic dimension B. To know what is Visual Dimension C. To know what is Rhythmic-Acoustic Dimension



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CHAPTER II DISCUSSION 2.1 Lexical Thematic Dimension The issue of the narrator, which has been dealt with in the context of point of view and characters in the treatment of fiction, is usually referred to in poetry with the terms “voice” or “speaker.” As poetry is often regarded as a medium for the expression of subjective, personal events—an assumption which does not always correspond to the facts—the issue of the speaker is central in the analysis of poems. The question whether the speaker and the author are one and the same person is, of course, also relevant for fiction. In the novel and in the short story, however, a distinctive use of point of view techniques easily creates a distance between the narrator and the author.5 a. Diction The choice and use of words in literature in poetry concrete nouns and scenes are employed in order to create a particular feeling; poetry tries to convey themes in a concrete language of images (in contrast to abstract philosophical texts, which remain abstract in their expression, poetry tries to convey themes in a concrete. 



Diction Imagery(image)



Is the most common manifestation of the concrete character of poetry (even if an abstract theme is at the centre of the poem, the poet still uses concrete imagery in order to make it more accessible the concrete character can be achieved on lexical-thematic, visual, and rhythmic-acoustic levels it refers to a predominantly visual component (you can picture the object or situation); 



Diction symbols



Refer to a meaning beyond the material object (Images and concrete objects often serve the additional function of symbols - cross refers to deat clock refers to time).



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Klarer, Mario Introduction to Literary Study. London& New York: Routledge



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CONVENTIONAL SYMBOLS - commonly known PRIVATE SYMBOLS - created by the poet; develops in symbolic function in its particular context.6 b. Rhetorical figures An expression of language, such as simile, metaphor, or personification, by which the usual or literal meaning of a word is not employed. 



Simile Is a comparison between two different things which are connected by “like,” “than,” “as,” or “compare,” as in Robert Burns’ (1759–96) poem “A Red, Red Rose” (1796): Oh, my love is like a red, red rose That’s newly sprung in June; My love is like the melody That’s sweetly played in tune.…



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Metaphor is The equation of one thing with another without actual comparison. if Burns said “My love is a red, red rose”, instead of “Oh, my love is like a red, red rose,” the simile would be transformed into a metaphor. In his poem “Auguries of Innocence” (c. 1803), William Blake (1757–1827) uses a different metaphor in every stanza: To see a world in a grain of sand And a heaven in a wild flower, hold infinity in the palm of your hand and eternity in an hour.



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Anonim, https://quizlet.com/482749801/literatura-4-flash-cards/. Diakses 3 maret pukul 9.56



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Metonymy (Greek for "a change of name") the literal term for one thing is applied to another with which it has become closely associated be-cause of a recurrent relationship in common experience. Yet Do I Marvel (By Countee Cullen) These lines are from Countee Cullen’s poem Yet Do I Marvel: “The little buried mole continues blind, Why flesh that mirror Him must someday die…” Here, Cullen uses “flesh” to represent humans, and questions God about why we have to die when we are created in His likeness.



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Synecdoche (Greek for "taking together"), a part of something is used to signify the whole, or (more rarely) the whole is used to signify a part. The Eyes around – had wrung them dry – And Breaths were gathering firm For that last Onset – when the King Be witnessed – in the Room –(“I heard a Fly buzz – when I died –” by Emily Dickinson) In this famous short poem by Emily Dickinson, the second stanza contains an example of synecdoche. The speaker in the poem is at the point of death, and in the second stanza makes note of “The Eyes around.” The eyes in this case refer to the audience that has gathered by the speaker’s deathbed. The speaker doesn’t refer to the people themselves, but instead to their eyes—which are now dry from having exhausted their tears—and breaths



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personification, or in the Greek term, prosopopeia, in which either an inanimate object or an abstract concept is spoken of as though it were endowed with life or with human attributes or feelings.7



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Holly cross,literary element, https://slideplayer.com/ .diakses tanggal 2 maret 2020 pukul 12.34



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Have You Got A Brook In Your Little Heart (By Emily Elizabeth Dickinson) “Have you got a brook in your little heart, Where bashful flowers blow, And blushing birds go down to drink, And shadows tremble so?” The bashful flowers, blushing birds, and trembling shadows are examples of personification. c. Theme According to Burton Goodman, theme is the main idea or the main pointin a story. A theme must represent the whole part of the story, because theme is a basic development of a whole story. Actually it is not easy to find out the theme . The reader has to read the novel and understand what the story tellsabout.Staton (2007:7) was stated that theme gives a strong explained about theunity of what is happening in the story, and tell about the story of life in acommon context. The purpose of theme is to give a shape and effect in our mind,so make the story easy to remember. A good theme has to represent the entirestory in the novel. Sometimes the theme shapes in to the fact that comes from thehuman experience. It is explored by the story and then gives impression for eachof event in life. 8 The theme differs from the subject itself. The subject of a work can be described in concrete terms, usually through actions, For example: 



The Adventures of Huckleberry Finn. The subject matter is Huckleberry Finn’s adventures. The theme, however, is more of an abstract idea. The primary theme of Huck Finn, for example, is the conflict between civilization and natural life.



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munaf,Jurnal.IAIN raden intan lampung.



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2.2. Visual Dimension 1. Stanza In poetry, a stanza is used to describe the main building block of a poem. It is a unit of poetry composed of lines that relate to a similar thought or topic— like a paragraph in prose or a verse in a song. Every stanza in a poem has its own concept and serves a unique purpose. A stanza may be arranged according to rhyming patterns and meters the syllabic beats of a line. It can also be a freeflowing verse that has no formal structure. A stanza is a series of lines grouped together in order to divide a poem; the structure of a stanza is often (though not always) repeated throughout the poem. Stanzas are separated from other stanzas by line breaks. Each stanza is a standalone unit that can either make up an entire poem or can build a bigger poem with other stanzas. A stanza can reveal the following about a poem: 



Structure. A poem always has a structural framework in place. Stanzas are part of a poem’s architecture.



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Pattern. In formal verse poetry, in which the poem follows a rhyme scheme and meter, the first stanza sets the pattern for the overall poem. The rhyme and rhythm used will repeat in the second stanza, and so on.



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Organization. Often, the lines of a stanza explore a thought. As the poet moves onto the next thought, they might progress to a new stanza.



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Set a mood. A break in between stanzas may signal a shift in mood or emotional tone.



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Shape. The space around and between stanzas (or lack thereof), and the pattern they create on the page, defines the shape of a poem. Stanzas, like poems, come in all shapes and sizes. There are many different



types and they are often classified by meters, rhyme schemes or how many groups of lines they have. Here are some different types of stanzas.



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Monostich. A one-line stanza. Monostich can also be an entire poem.



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Couplet. A stanza with two lines that rhyme.



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Tercet. A stanza with three lines that either all rhyme or the first and the third line rhyme—which is called an ABA rhyming pattern. A poem made up of tercets and concludes with a couplet is called a “terza rima.”



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Quatrain. A stanza with four lines with the second and fourth lines rhyming.



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Quintain. A stanza with five lines.



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Sestet. A stanza with six lines.



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Septet. A stanza with seven lines. This is sometimes called a “rhyme royal.”



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Octave. A stanza with eight lines written in iambic pentameter, or ten syllable beats per line. The more lines a stanza has the more varieties of rhyme and meter patterns. For example, “ottava rima” is an eight-line stanza with the specific rhyme scheme in which the first six lines have an alternating rhyme pattern and a couplet as the final two lines.



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Isometric stanza. Isometric stanzas have the same syllabic beats, or the same meter, in every line.



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Heterometric stanza. A stanza in which every line is a different length.



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Spenserian stanza. Named after Edward Spenser’s unique stanza structure in his poem “The Faerie Queene.” A Spenserian stanza has nine line, eight in iambic pentameter—ten syllables in a line with emphasis on the second beat of each syllable—and a final line in iambic hexameter—a twelvesyllable beat line.



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Ballad stanza. Often used in folk songs, a ballad stanza is a rhyming quatrain with four emphasized beats (eight syllables) in the first and third lines, and three emphasized beats (six syllables) in the second and fourth lines.



How Is Formal Verse Different from Free Verse in Poetry? Formal verse.



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Formal verse is poetry that follows a strict repeating pattern, like sonnets or limericks. Stanzas in formal verse will have a matching meter and rhyme scheme. Robert Frost was an advocate for structure in poetry, and famously said that poetry in free verse was like playing tennis without a net. William Shakespeare’s sonnets are a classic example of how stanzas are used in formal verse. “Sonnet 130” William Shakespeare My mistress' eyes are nothing like the sun; Coral is far more red than her lips' red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head.



I have seen roses damasked, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks.



I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground.



And yet, by heaven, I think my love as rare As any she belied with false compare Free verse. In free verse, poetry does not follow a strict rhyme or meter. Stanzas of different types can be used within a poem. Walt Whitman was the pioneer of free verse, using different kinds of stanzas of varying line lengths. “To a Locomotive in Winter” Walt Whitman



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Thee for my recitative, Thee in the driving storm even as now, the snow, the winter-day declining, Thee in thy panoply, thy measur’d dual throbbing and thy beat convulsive, Thy black cylindric body, golden brass, and silvery steel, Thy ponderous side-bars, parallel and connecting rods, gyrating, shuttling at thy sides, Thy metrical, now swelling pant and roar, now tapering in the distance, Thy great protruding head-light fix’d in front, Thy long, pale, floating vapor-pennants, tinged with delicate purple, The dense and murky clouds out-belching from thy smoke-stack, Thy knitted frame, thy springs and valves, the tremulous twinkle of thy wheels, Thy train of cars behind, obedient, merrily following, Through gale or calm, now swift, now slack, yet steadily careering; Type of the modern—emblem of motion and power—pulse of the continent, For once come serve the Muse and merge in verse, even as here I see thee, With storm and buffeting gusts of wind and falling snow, By day thy warning ringing bell to sound its notes, By night thy silent signal lamps to swing. Fierce-throated beauty! Roll through my chant with all thy lawless music, thy swinging lamps at night, Thy madly-whistled laughter, echoing, rumbling like an earthquake, rousing all, Law of thyself complete, thine own track firmly holding, (No sweetness debonair of tearful harp or glib piano thine,) Thy trills of shrieks by rocks and hills return’d, 11



Launch’d o’er the prairies wide, across the lakes, To the free skies unpent and glad and strong.



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Common Examples of Stanza While the definition of stanza belongs only to poetry, there are many similar concepts. For example, song lyrics are usually broken into verses (including the chorus). Also, books for children generally have one key concept, action, or piece of dialogue per page, much like the way that stanzas break up the images and thoughts in a poem. Here is an example from the Beatles’ lyrics to “Hey Jude”: Hey Jude, don’t make it bad Take a sad song and make it better Remember to let her into your heart Then you can start to make it better Hey Jude, don’t be afraid You were made to go out and get her The minute you let her under your skin Then you begin to make it better These two verses are very similar to the way stanzas break a poem into pieces. Significance of Stanza in Literature Poets have been using stanzas in their works for thousands of years. Many religious texts and works such as the Old English epic Beowulf are written with stanzas. The purpose of stanzas, whether in longer works or short poems, is to break the images and information into shorter pieces. Stanzas are also important in formal poems in which there is a strict meter and rhyme scheme. In the time of troubadours and oral literature stanzas had even greater importance because they were helpful tools for the speaker to memorize long works.



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https://www.masterclass.com/articles/poetry-101-what-is-a-stanza-in-poetry-stanza-definitionwith-examples#how-is-formal-verse-different-from-free-verse-in-poetry



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Examples of Stanza in Literature Shall I compare thee to a summer’s day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm’d; And every fair from fair sometime declines, By chance, or nature’s changing course, untrimm’d; But thy eternal summer shall not fade Nor lose possession of that fair thou ow’st; Nor shall Death brag thou wander’st in his shade, When in eternal lines to time thou grow’st; So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. (“Sonnet 18” by William Shakespeare) “Sonnet 18” is one of William Shakespeare’s most famous sonnets, and it is a good example of how stanzas work in English sonnets. We can see 3 quatrains with the rhyme scheme ABAB CDCD EFEF, ending with a closed couplet GG. As is the case with Shakespeare’s sonnets and many of his dialogues in plays, these stanzas are written in the meter of iambic pentameter (10 syllables with a regular pattern of unstressed and stressed syllables).10 2. Concrete poetry, Poetry in which the poet’s intent is conveyed by graphic patterns of letters, words, or symbols rather than by the meaning of words in conventional arrangement. The writer of concrete poetry uses typeface and other typographical elements in such a way that chosen units letter fragments, punctuation marks, graphemes (letters), morphemes (any meaningful linguistic unit), syllables, or words (usually used in a graphic rather than denotative sense) and graphic spaces form an evocative picture.11 10



http://www.literarydevices.com/stanza/



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https://www.britannica.com/art/concrete-poetry 13



Concrete poetry—sometimes also called ‘shape poetry’—is poetry whose visual appearance matches the topic of the poem. The words form shapes which illustrate the poem’s subject as a picture, as well as through their literal meaning. This type of poetry has been used for thousands of years, since the ancient Greeks began to enhance the meanings of their poetry by arranging their characters in visually pleasing ways back in the 3rd and 2nd Centuries BC. A common way to make the visual structure reflect the subject of the poem is to fill an outline shape that relates to the



topic of the poem. Here is an example about a snowman: 



Choose an object to be the subject for your poem.  Good suggestions for beginners could be favorite animals or favorite foods.



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Draw a simple outline of its shape on paper or on the computer.  If you’re using paper, draw with a pencil not a pen.



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Write your poem normally.  Try to describe how the subject makes you feel.  The words will be fitted into your drawing, so don’t make it too long – between 6-12 lines is probably a good length! IT DOESN’T HAVE TO RHYME!



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Lightly in pencil, or on the computer, write your poem into the shape.  It’s ok if it doesn’t fit properly yet, because this is where you find out if you need to make the writing larger or smaller.



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Decide if you need to make your writing bigger or smaller in certain parts of the drawing,  then erase your first draft and write out the poem again.  You can keep doing this until you are happy.



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Finally, erase the outline of your shape, so that it is just the words from your poem left creating the image!  If you were writing in pencil, you can now go over the words in pen!



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(In my example I added the ‘brrr…’s afterwards to make the picture look better, but without interrupting the story of the poem.  If you want to try details like this, think of comic-book-style effect words like ‘flash’, ‘purr’, ‘phew’ or ‘zzzz…’ to add another element to the story-picture!) Another way to make concrete poetry is to use the lines of words to make the



lines of a drawing. This time, the subject doesn’t have to be an object, but it does have to be something you can draw an illustration of using ‘stick’ figures. This is the another example of ‘growing’:



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Choose your subject 



Draw a simple line – or ‘stick’ – drawing to illustrate your subject on paper or on the computer.  If you’re using paper, draw with a pencil not a pen.



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Write your poem normally.  Simple is best, so stick to between 2-6 lines. IT DOESN’T HAVE TO RHYME!



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Lightly in pencil, or on the computer, write the lines of your poem along the lines of your drawing – remember that we normally read from left to right, and from top to bottom!



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If you don’t have enough words, or have some left over, don’t worry!  Decide where you need to make your writing bigger or smaller to make it all fit, then erase your first draft and write out the poem again over your line drawing.  You can keep doing this until you are happy.



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Finally, erase the line drawing, so that it is just the words from your poem left creating the image! (If you were writing in pencil, go over the writing in pen first.)



(In my example I wanted to add branches to the tree, so used repeated words from my poem to highlight the theme, and make the picture better.  If you want to add details like this, think about what the most important word is in your poem and use the one that best sums up its message!).12 2.3. Rhythmic-Acoustic Dimension In order to achieve the concrete quality of poetic language, sound and tone are employed as elements with their own levels of meaning. By choosing certain words in a line or stanza, a poet can produce a sound or tone which is directly related to the content of the statement. The acoustic element, like a poem’s visual appearance in concrete poetry, can enhance the meaning of a poem. The following passage from Alexander Pope’s (1688–1744) “Essay on Criticism” (1711) is a self-reflexive example of this technique: 12



https://www.poetry4kids.com/news/how-to-write-a-concrete-poem/



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True ease in writing comes from art, not chance, As those move easiest who have learned to dance. ‘Tis not enough no harshness gives offense, The sound must seem an echo to the sense: Soft is the strain when Zephyr gently blows, and the smooth stream in smoother numbers flows; But when loud surges slash the sounding shore, The hoarse, rough verse should like the torrent roar. In these lines, Pope points out that, in what he considers a good poem, content and sound harmonize and form a unity (“The sound must seem an echo to the sense”). In lines 5 and 6, he mentions the west wind (Zephyr) and suggests its natural sound through the deliberate choice of words whose sounds (“z,” “ph,” “w,” “oo,” “th”) are reminiscent of a gentle breeze. In lines 7 and 8, the harsh noise of the sea breaking on the shore is imitated by words with less gentle sounds (“sh,” “gh,” “v,” “rr”). This unifying principle of sound and sense is of course not a goal for every poet, and modern examples often work against this more traditional attitude toward unity. Meter and rhyme (less often, rime) are further devices in the acoustic dimension of poetry which hold a dominant position in the analysis of poems, partly because they are relatively easy to objectify and measure. The smallest elements of meter are syllables, which can be either stressed or unstressed. According to the sequence of stressed and unstressed syllables, it is possible to distinguish between various metrical feet, whose number consequently indicates the meter. In the analysis of the meter (scansion), a line is first divided into syllables. The example here is the verse “The woods are lovely, dark and deep” from Robert Frost’s (1874–1963) poem “Stopping by the Woods on a Snowy Evening” (1923): The—woods—are—love—ly,—dark—and—deep After the division into syllables, stressed syllables (´) and unstressed syllables (˘) are identified. The technical term for this process is scansion: 17



Thě—woóds—ăre—lóve—lў,—dárk—ǎnd—deep According to the sequence of stressed and unstressed syllables, the line can be divided into feet: Thě—woóds |—ăre—lóve |—ly,—dárk |—ănd—deép. The four most important feet are: 1. lambus, or iambic foot: an unstressed syllable followed by a stressed syllable(˘´) Thě cúr | fěw tólls | thě knéll | ǒf pár | tĭng dáy. 2. Anapest, or anapestic foot: two unstressed syllables followed by one stressed syllable(˘˘´) Ănd thě sheén | ǒf thěir spéars | wǎs lǐke stárs | ŏn thě seá. 3. Trochee, or trochaic foot: a stressed syllable followed by an unstressed syllable(´˘) Thére thěy | áre, mў | fíftў | mén ănd | wóměn. 4. Dactyl, or dactylic foot: one stressed syllable followed by two unstressed syllables(´˘˘) Júst fŏr ă | hándfǔl ǒf | sílvěr hĕ | left ǔs. According to the number of feet, it is possible to distinguish monometer (1), dimeter (2), trimeter (3), tetrameter (4), pentameter (5), and hexa-meter (6). In the description of the meter of a line, the name of the foot and the number of feet are mentioned. The first line of Thomas Gray’s (1716–71) “Elegy Written in a Country Church Yard” (1751) (“Thě cúr | fěw tólls | thě knéll | ŏf pár | tĭng dáy”), which consists of five iambic feet, is termed iambic pentameter. This meter, which is close to the rhythm of natural speech and therefore popular in poetry and drama, is also referred to as blank verse. Another popular meter in English is iambic hexameter, which is also called Alexandrine. Alongside meter, rhyme adds to the dimension of sound and rhythm in a poem. It is possible to distinguish internal, end and eye rhymes. Internal rhymes are alliteration and assonance. Alliteration is the repetition of the same consonant at the beginning of words in a single line (“round and round the rugged rock the ragged rascal ran”). If a vowel is repeated instead (either at the beginning or in the middle of words) it is called assonance (“Thou foster child of silence and slow time”).



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Alliteration was the most common rhyming pattern in Old English and in some types of Middle English poetry. The opening lines of William Langland’s (c. 1330–86) Middle English “long poem” Piers Plowman (c. 1367–70) are good examples of a meter in which alliteration and stress complement each other. In a sómer séson, | | whan sóft was the sónne I shópe me in shroúdes, | | as Í a shépe were, In hábits like a héremite, | | unhóly of wórkes Went wýde in this wórld, | | wónders to hére. In this meter, every line contains four stressed syllables with additional alliterations, while the number of unstressed syllables varies. In the middle, the line is split into two halves by a caesura which marks the beginning of a new unit of thought. The most common rhyming scheme in modern poems is end rhyme, which is based on identical syllables at the end of certain lines. To describe rhyme schemes, letters of the alphabet are used to represent identical syllables at the ends of a line, as in the following poem by Emily Brontë (1818–48), “Remembrance” (1846): Cold in the earth—and in the deep snow piled above thee, a Far, far removed, cold in the dreary grave! b Have I forgot, my only Love, to love thee, a Served at last by Time’s all-severing wave? b This system of identification helps to highlight the rhyme structure of complex poems by reducing them to their basic patterns. Eye rhymes stand between the visual and the acoustic dimension of a poem, playing with the spelling and the pronunciation of words, as in these lines from Samuel Taylor Coleridge’s (1772– 1834) “Kubla Khan” (1816): Then reached the caverns measureless to man, And sank in tumult to a lifeless ocean: And ‘mid this tumult Kubla heard from far 19



Ancestral voices prophesying war! The syllables “an” at the end of the first two lines are examples of eye rhyme, as the sequence of the letters “a” and “n” is identical, but pronounced differently in the two verses. Eye rhymes play with the reader’s expectations. When reading the two lines in Coleridge’s poem, one is tempted to pronounce the syllable “an” in “man” and “ocean” in such a way that the two words rhyme. By the time one gets to the word “ocean”, however, it has become clear that they only rhyme visually and have to be pronounced differently. Eye rhymes permit authors to highlight certain words by creating a tension between visual and acoustic levels and thus to direct the reader’s attention to specific elements of the poem. The multitude of different stanzas in English poetry can be reduced to a few basic forms. Most poems are composed of couplets (two verses), tercets (three verses) or quatrains (four verses). The sonnet is an example of the combination of different stanzas. According to the rhyming scheme and the kind of stanzas, one can distinguish between Shakespearean, Spenserian and Italian (or Petrarchan) sonnets. In the Renaissance, sonnet cycles— consisting of a number of thematically related poems—became popular as a result of Italian influence. These cycles enabled poets to deal with certain topics in greater detail while working within the sonnet form. The English or Shakespearean sonnet, which holds a privileged position in the English tradition, deserves a more detailed explanation. It consists of three quatrains and one couplet. The fourteen lines are in iambic pentameter and follow the rhyme scheme abab cdcd efef gg. Shakespeare’s (1564–1616) sonnet “That time of year thou may’st in me behold” (1609) fulfills these criteria: That time of year thou may’st in me behold a When yellow leaves, or none, or few, do hang b Upon those boughs which shake against the cold, a Bared ruined choirs, where late the sweet birds sang. b In me thou see’st the twilight of such day c As after sunset fadeth in the west; d 20



Which by-and-by black night doth take away, c Death’s second self that seals up all in rest. d In me thou see’st the glowing of such fire e That on the ashes of his youth doth lie, f As the deathbed whereon it must expire, e Consumed with that which it was nourished by. f This thou perceiv’st, which makes thy love more strong, g To love that well which thou must leave ere long. g Each segment of this sonnet (the three quatrains and the couplet) consists of a coherent sentence. The four sentences are connected on a thematic level by repetition: “in me behold” in the first verse, “In me thou see’st” in the fifth and the ninth, and “This thou perceiv’st” in the thirteenth. In each quatrain, an image is introduced which fits into the theme of the sonnet as a whole and works toward the couplet. In the first stanza, boughs without leaves are mentioned, followed by the setting sun and darkness in the second, and a dying fire in the third. Images from various areas all function as signs of mortality. In the couplet, a connection is drawn between these signs, which are visible in the speaker’s face, and love. Indirectly, Shakespeare sees human love as arising out of the certainty of man’s death. In this sonnet, the close connection between formal and thematic elements is clearly visible. Ideally, in traditional poetry, the lexical-thematic, visual and rhythmicalacoustic dimensions—used here to illustrate the most important elements of the genre —should link with each other. The idea of unity, according to which several levels of expression connect, is most dominant in poetry, but, to a lesser degree, also characterizes other genres. One ought to be cautious, however, since not every poem subscribes to the concept of unity as its main structural goal. Experimental poetry, in particular, abandons these seemingly rigid structures in order to explore new “open forms,” such as poems in prose or free verse.13



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Klarer, Mario Introduction to Literary Study. London& New York: Routledge



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CHAPTER III CONCLUSION 3.1 Conclusion The issue of the narrator, which has been dealt with in the context of point of view and characters in the treatment of fiction, is usually referred to in poetry with the terms “voice” or “speaker.” While imagery in traditional poetry revolves around a transformation of objects into language, concrete poetry takes a further step toward visual art, concentrating on the poem’s shape or visual appearance. In order to achieve the concrete quality of poetic language, sound and tone are employed as elements with their own levels of meaning. By choosing certain words in a line or stanza, a poet can produce a sound or tone which is directly related to the content of the statement. The acoustic element, like a poem’s visual appearance in concrete poetry, can enhance the meaning of a poem. 3.2 Criticism and Suggestion With the limitations that we have, we realize that this paper is far from perfect. Therefore, we sincerely welcome greetings from readers with open arms for the improvement and improvement of this paper.



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Anonim, https://quizlet.com/482749801/literatura-4-flash-cards/. Diakses 3 maret pukul 9.56 cross,Holly.literary element, https://slideplayer.com/ .diakses tanggal 2 maret 2020 pukul 12.34 Klarer, Mario Introduction to Literary Study. London& New York: Routledge munaf,Definition of theme in literature.Jurnal.IAIN raden intan lampung. Anonim, https://www.poetry4kids.com/news/how-to-write-a-concrete-poem/. Diakses pada 3 Maret 2020 http://www.literarydevices.com/stanza/. Diakses pada 3 Maret 2020 https://www.britannica.com/art/concrete-poetry. Diakses pada 3 Maret 2020 https://www.masterclass.com/articles/poetry-101-what-is-a-stanza-in-poetry-stanzadefinition-with-examples#how-is-formal-verse-different-from-free-verse-in-poetry. Diakses pada 3 Maret 2020



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