Poetic dialogues in shakespeare's macbeth

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Poetic Dia.i,ogues in Shakespeare's Macbeth

A Script

Submitted ill partial fulfillment ofthe requirements for the degree of Smjana Sastra

Written by: Prastyo 29926000197

Syarif Hidayatullah

State Islamic University of

JalUll'lll

Faculty of Adab aud Humanities

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Poetic Dialogues in ShaI,espearets Macbeth

A Script

Submitted in partial fulfillment ofthe requirements 1'01'the degree of Sarjana Sastra

Written by: PI'usiY..Q 29926000197

Approved by: , Advisor

, / '

ｬＢＢｾｐ､ＢｍＮ

M

132233516

Syarif Hid aya tullah

State Islamic l:Jniversity of Jakarta

Famlty of Allah and Hwnanities

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LEGALIZATION OF EXAMINING COMMn"l'EI1;

A script entitled "Poetic Dialogues in Shakespeare's Macbeth" has

examined before the Exami:ling Conunittee held by Department of English Letters

Faculty of Ad"b and Humanities Syarif Hidayatullah State 1sl"mic University of

J"kat1a on November 17, 2005.

Tlus script has accepted as a partial fulfillment of the requirements required

felr the degree of Smjana Sas!ra.

J"karta, November 17, 2005

EXAlVIlN1NG COl\1MITTEE

CHmF EXAMINlm

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ABSTRACT

PRASTYO

POETIC DIALOGUES IN SHAKESPEARE'S MACBETH

Prastyo. Poetic Dia'ogues in Shakespeare's Macbeth (below advisory of Danti Pudjiati, S. I'd, M. M).

This script is about portrait of one of poetic aspects that can be cligged in Ma';beth, a play written by V,Tilliam Shakespeare around 1606. The research focus;d in devices of sound, in this case rhyme, alliteration, aud assonance those found in the texts of the play uttered by SJme leading characters. The main characters analyzed in this research arc Macbeth, Lady Macbeth, King Duncan, Malcolm, Banquo, ｍ｡｣､ｵｦｴｾ

"nd Three Witches. By scanning the texts depicted by some main characters, three kinds of sound patteming m"ntioned above described by using the ,ools provided by linguistics. The tool that uoell _{in this research is phonetics, a branch of linguistics that} coneems with speech sounds, their production and their transcription in mitten text. The texts those have land of sound patterning analyzed and described one by one at what act, what scene, ,md whitt line thcy occur.

Benefits of the reseal eh beside to describe kinds of sound patteming used by Shakespeare in his leading characters' dialogues also to lmow the functions of them in drama. Among the functions of sound patterning in tlus research are to adding the enjoyment of poetry in the play.

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,\CKNOWLEDGMENT

I would like to expr,:,:;s my gratitude to Allah SWT by saying alhamdulillahi

rab al amino Finally, I can finish my script with its plus and minus aner a long time.

Shalawat and 3alam only for I lis last prophet: rv!uhammad SAW.

For my selt; the fmis'l of this script, remembering to many people who help

me material and immaterial s;ncerely without hoping anything. For that .. ", I my self,

limn the deepest side of my heart, really would like to say thank 00 mueh to them.

Number of people those mentioned below have great part in my heart:

1. Prof. Dr. H. Badri '{atim, dean of Faculty of Adab and Humanities, Dr.

Muhammad Farkhan, M. Pd, head of Department of English Letters,

Nurhasan, M. Ag, secretary of Department of English Letters, and alllectures

and staff:s of Department of English Letters Faculty of Adab and Humanities.

2. JV!y advisor, Danti Pudjiati, S. Pd, 111. M. 1 knew that I have bothered you so

long. Your al;undant kindness and patience and helpful advises a:ld

suggestions dudng the process of writing, no doubtful about that.

3. Examining Committee, Dr. Muhmnmad Farkhan, M. Pd and Elve Oktaviyani,

S. S, thank a lot for the time to re<ld my script <lnd correct so many nnproper

things Ii-om it.

4. ｍｾＧ mother, my wife, my brothers, and sisters who always enconrage and

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5. :\11 stalIs of [vlain Libr.u"j' of UlN Jakarta, Library of Faculty of Adab and

Humanities, Library of

I'm

01 Depok, Library of British Council, Library of

PIlIl Onika Atma 1<.ya where I g,ain so many advantag,es of kind assistance

[i'om them.

6. [vfy fi-iends in Ciputlll: Holi!, Supardi, Zarkom, and all fi'om BS1 and BSA

·1999. Also my 11iendq who work in Wisma 1ndoccmcl1t.

7. So Illany people: those cannot write in this p'lpcr but only in Illy heart I always

rcnlGmbcr about thelll.

1 rcally hope hom a>ly one who read this sclipt will take somc advantag,es

even thoug,h this sClipt is notＧｾｸ｣｣ｬｬ･ｮｴ enoug:h.

Jakarta, November 2005

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CHAI'TERIVCONCLUSWN AND SUGGESTIONS 53

A. Conclusion 53

B.Suggestions 54

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CllJU'TER 1 iNTRODUCTION

A. Background of the Study

in English literature, we know that one of the most outstanding characters lhat

are given much more approciation from the others is William Shakespeare. We

obviously know him as a dramatist and an actor, beside that he is also a poet.

Shakespeare's plays and poems are still performed and read all over the world even

though they were written l:ctwcen sixteenth until scventeenth centuries. Until now,

each lines of his plays and poems arc still being analyzed by many students and

edtics. His works not only ;01' British, TIlrther more for all races, all places and all

time. The world has judged him as the greatest dramatist and poet ever lived. Why?

The answer is, quite simply, the fact that he wrote so much better than anyone else

was.

DUling his career, Shtkespeare wrote at least thil1y-eight plays, most of them

are great. So many themes reflect through stodes presented in these plays.

Shakespearean Drama usmlly divided into three categories, they arc tragedy,

comedy, and history plays. IJeside that, Shakespeare wrote two long narrative poems,

Venus and Adonis and The Nape o/Lucrece. He also composed a sequence of 154

sonnets and a short poem called The Phoenix and the Turtle.

Tlu'ough out his amazing literary works, Shakespeare changed words,

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Shakespeare's literary works are full of brilliaut imageries and he reinfm'eed the

imageJies with the rhytlun and sounds of his verse.

Talking about literatnre, there is a tenn called geme. Generally speaking,

genre means a kind, type, or class of literature. The main generic division today is

into poetty, drama and the prose, but in earlier tin1es the major gemes were

recognized as epic, tragedy, lyric, comedy, and satire.1

What is poetly? Poetly is a kind of literature in which tlle sound and meaning

of language ilre combined to create ideas and feelings,2 Drama is an art that tells a

story through the speech al'll actions of the characters in the StOlY. Most drama is

perfonned by actors who impersonate the characters before an audience in the

theater.3

So, what the ｲ･ｬ｡ｴｩｯＮｾ｜ｳｨｩｰ between the two genres of literature mentioned

above connecting with Willi:ill1 Shakespe:lre? William Shakespeare (1564-1616) and

his fellow contemporaJies scch as Cluistopher Marlowe, Bel1jamin Jonson, Francis

Beaumont and John Fletcher in the sixteenth and seventeenth centuries mainly

prefelTed wrote their plays in 'blank verse'. This term is usually refelTed to poelly. It

means unrhymed poetl)', ]wt a velY discipline verse forms in that each line h an

i,lmbie pentameter (a ten-s) Ilable line with five stresses)." The word iambic IS a

Greek word describing the pattern of stresses, or emphasis, in the line, and

I Jolm Peek and MarlinCoylc,Li,e"wy Terms anI! Criticism,(London: Macmillan, 1993), p.

""Poelry", 11,"World BookSncydopel!ia,(Chicago: World Book, Inc, 1985), Vo14, p. 527

3"Drama",Ibid,p.268

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pentameler is a Latin word which mCilns there are five pairs of stresses to each line.5

Shakespeare used both rhyming and unrhymed iambie pentameterinhis plays.

Shakespeare wrote chiefly in verse, and always used verse for the more

sedous, important speeches, in which more fOlmallanguage was required. He did use

prose, but mostly for more everyday conversations, and particularly for lower-class

characters.6

In this writing, tlle writer wants to discuss about some clements of poelIy used by Shakespeare in Macbetll, a play that is considered as one of Shakespeare's four

great tragedies beside' Halnlet, Othello, and King Lear. The tragedy of Macbeth

probably was wdlten Jrouncl 1606. Shakespeare took the source fer Macbeth from

Raphael Holinshcd's Chrollldes of England, Scotland and Ireland (2nd Ed, ISS7),

whose account of Scotland [:erived from The Latin Seotarum Hisloriae (Pads, 1527)

of Hector Boece.7 Macbeth is a tragedy of a Scottish nobleman who kills King

Duncan, the king of Scotland after he heard The Weird Sisters prophecies. Soon after

that he becomes king himself. At the end of the play, Lord Macduff kills Macbeth and

the throne is given back to the real heir of the realm, Malcolm, Duncan's eldest s )n.

In tlus play, Shakesreare used the most dazzling poetry he ever wro'ce. He

composed thc lincs in whicIl the sound and mcaning of language are combined to

create ideas and feelings. Easily found in the play's texts some elements usually used

5Rani Jay,Shake'Teare: A Begirl'ter's Guide,(London: Hodder and Stoughton Educational, 2000), p.

22

, Ibid.

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by a poet to construct poetc:! such as line arrangement, rhyme, rhythm, and diflerent

kinds of sound patterning. The play consists many imageries and figurative languages

in its characters' ､ｩ｡ｬｯｴＬＧｕｾＮ I-k algo showed us how the linea in the play may appear in

many different forms.

Some comments about how licItly created Macbeth's composition of poetry is

given here. The poetry was so subtly shaded that a choice of meanings, sometimes

dramatically opposed, was haiIDonized in almost every line.8

In

Oxford School

Shakespeare Macbeth edited by Roma Gill, the illustration is like this: "... the play

has great power as a work (jfpoeliy and imagination. The language is dch in sound and meaning, full of ｰｩ｣ｴｵｲ･ｾ and immensely vmied.,,9 Furthenl1ore, I-larry Blamires

says: "Nothing more clearly illustrates the Shakespearean blend of act and symbol

than the lich web ofimagely <lfwhich the poetry of Macbeth is fashioned."l0

Several brief explanations above become reasons to tile Wliter to analyze more

deeply the elements of poetr;/ in the texts employed by Shak.ospeare in Macbeth. The

title that the wliter chooses for this thesis is "Poetic Dialogues in ｓｨ｡ｫ･ｳｰｾ｡ｲ･Ｇｳ

JVlac b(·th. "

B. ldel1tilicatioll of the Problem

Related to the background above, there arc many problems may be appear:

1. Why did ｓｨ｡ｫ･ｳｰ･｡ｲｾ write his play in blank verse?

SGordon William.Macbeth: Text a,ldPel!ormance,(London: Macmillan PubLsher, Ltd, 1985), p. 41

, Roma Gill (ed),Oiford School Shakespeare Macbeth,(Oxford: Oxford Universily Press, 1977), p.vi

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2. How did he group the lines into stanza?

3. How many lines did he usually arrmge?

4. How many syllables usually contain in the line?

5. How did he write his poetic aspect in his dmma?

6. What are poetic element and sound patterning in Shakespearean Drama?

C. Statcment of the Problcr.l

When analyze the texts of drama wlitten mainly by Shakespeare and his

companion contemporarics, in one hand, the texts can be approached by conct'ntrale

to some elements of drama wch as plot, theme, chamcters and their language, setting,

staging and so forth. In the other hand, because Shakespeare wrote his characters'

dialogue in rhyming lines atld have repeating rhythms or give a pictures of other

distinct poetic elements recognizably found in poetry, at that time the process of

analyzing poetly occurs there

Based on the statement above, the wliter in this research wants to focus in

exploration of poetic aspect in the matter of sound pattcming or devices of nound in

lVlacbdh, onc of the tragedies wlitten by Shakespeare. What arc poetic clement and

sound patteming usually found in Shakespearean Drama?

D. Scopc and Limitation

In order to prevent unimportant discussion, the writer focuses tIus analysis in

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in Shakespeare's Macbeth. Kinds of sound patterning will b<: examined in this context

are rhyme, alliteration and aswnance.

The main c!la"acte,rr analyzed m the play are JvIacbeth, Lady Macbeth,

Duncan, Malcolm, Donalbiliil, Banquo, Milcduff, Lady Macduff, the Porter anc: the

Witches as mentioned in lviacbeth William Shakespeare Complete School Ldition

edited by Roderick Wilnon that b ,comes source ｢ｯｯＮｾ to the wIiter in analyze the texts

of Macbeth. Those names are chosen as leading characters bccause they have large

part and significant role in the play. Interaction amongst them: actions intensifY,

compliciltions develop, conf1iGts emerge, suspenses build malw the play alive.

E. Benefit of the Research

This research has several benefits, they are:

1. To descIibe sound patterning: rhyme, alliteration, and assonance in the

dialogue of main characters in Shakespeare's Macbeth.

2. To know what are the function of the use of these souml palteming in drama,

especially in Maebctil.

3. Through tlus research the writer as a student of English Literature expects to

have a larger and bIOader knowledge about the richness of Shakespearean

Drama but also about the life of Shakespeare and to appreciate and to promote

them.

4. To give a reference to anyone who wants to make a furtller research related to

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F. 1\1ethod of the Research

The method used by the writer in this research is descriptive method. All data

ｳｯｵｲ｣ｾｳ those related to the topic taken ii-om several libraJies in fonn of books,

dictionaJies, and encyclope(lias collected, identified, evaluated. After analyze those

data the wJiter hies to mak0 a clear and accurate descJiption from those facts counted

above related to the topic being researched until bring the writ'or to conclusion.

The technique of this research can be described as follow. Firstly, watching

the play in fOlm of video performing provided by Library of BJitish COIillcil and

reading its texts ,everal time' until the writer grasps what shonld be taken as a topic

of research. Secondly, ｣ｨｯｯｾｩＧＱｧ the title of this research and making a design of this

research. Thirdly, scanninr-, the data in this case play's texts ultered by main

characters those hav" a prescntation of sound palteming: rhyme, alliteration, and

asconance. After tllcse raw material collected, the Ivriter analy7jng all dat1 found

refers to thc research object by cxamine utterances of charactcrs one by one at where

arc they found: act what, ｳ｣ｾｮ･ what, and line what. After that, the writer describes

:hcir sound patterning and phonetic notation until the writer comes to the result of the

research. Finally, all these waf bring the writer to the conclusion.

The writer uses PedQman Penulisan Skripsi, Tesis, dan Disertasi published

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G. Organization of the Paper

Tlus paper divided inio five chapters:

I. Chapter One

This chapter IS an outline of general auns of the script. It consists of

background of the study, identification of the problem, statement of the

problem, scope and limitation, benefit of the research, method of the research

and organ;zation of the paper.

2. Chapter Two

Itis an account of Sf,me tlleories and defmitions of tellliS those are used in tlus

research. The:' are definitions of phonetics, consonant, vowel, classification of

consonant and vowel, phonetic notation, poctly, drama, and kinds of sound

patteming in poetly: r:1)'111e, alliteration, and assonance.

3. Chapter Three

It is a result of research trom Shakespeare's Macbeth that focused in some

play's texts elements those considered as elements of poe!ly especially kinds

of sound patteming. The writer also makes a table about sound patteming in

order to make the result of the research easier to understand.

4. CIHlpter Four

This fmal chapter is c'onclusion about research and suggestions related to this

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CHAPTER II

'rrmORETICAL REVIEW

A. Phonetics

In order to analyze c:evices of sound in ｾｶｬ｡｣｢｣ｴｨ linguistically, the writer will

;ook at phonetics. Phonetics is the branch of linguistics which has as its aim the

dcsetiption and classification of speech sounds. Phonelics divided into three sections:

ar' 7tOl)' phonetics that focuses in the way sounds ,Ire articulated, acoustic

phonetics, which studies physical propeliics of speech sounds as sound waves, and

auditOl)' phonetics, which approaches the study of sounds fi'om the perspective of the

hearer (also known as perceptual phonetics).11 In this research the focus is in the

articulatory phonetics.

Human speech is pro,luced by organs of speech. In articulatory phonetics, the

firs: thing must be dealt with is the organs of spcech. Among the organs of speech

involved in speech sounds &re: lung, trachea, larynx, vocal cord, cricoid, thyroid,

arythenoid, wall of phalynJ:, epiglottis, rool of the tongue, back of the tongue or

dorsum, middle of the tong'.le or medium, blade of the tongue or laminum, tip of the

tongue or apex, uvula, soft p,date or velum, hard palate or palatum, alveolum, upper

J1JormneKemvortlly,Language in Action:AllIntroductioN to lv/oelern Linguistics,(NewYork·.

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teeth or den tum, lower teeth or den tum, upper lip or labium, lower lip or labium,

111outh, oral cavity, and nasll cavity.'2

C. Consonant and Vowel

Broadly speaking, consonants are sound you make by blocking thc flow of air

fi'mn your lungs with a c1osv.re somewhere in your mouth or throat (e. g. when you

say m your lips are ｣Ｑｯｾ･､［ when you say t, your tongue touches the roof of your

mouth).

The articulation of any consonants my be summed up in a three-telm label

whose pmts specify (a) st·ltc of glottis (b) articulators involved, that is place of

articulation and (c) manner of articulation.

The state of glottis is described as VOiced, voiceless, whispered,

breathy-lJ

vOicedorcreaky-voicedas neeessalY.

The place of articu!<ltion is indicated by an adjective ill most cases delived

ii'onl thc Latin name of the ariiculators:

I. Bilabial: both lips, e. g. the initial sound ofbait;

l.abiodental: lower lip and upper teeth, e. g. tl,e initial soundof/ate;

3. Dental: tip or blade oJ'tongue and back of uppcr teeth, e. g. the initial sound of

those;

12AbdulChaer,Linguislik Umum,(Jakarta: Rineka Clpta,2003), 3'dEd, p. t05

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4. Alveolar: tip or blade: of tongue and alveolar ddgc, e. g. the initial sounds of

toe, so andlowia many accents of English;

5. Post-alveolar: tip of tongue and border of alveolar ridge and palate, e. g. the

initial sound oftl));

6. Palatal:fi'ont of tongue and palate, e. g. the initial sound ofyes;

7. Retroflex: tip of tongue (curled back so that it points almost vertically) and

palate, e. g. the Englii\h West Country and some Amelican pronunciations of

-erinbutter;

8. Velar: back of tongue and velum, e. g. the initial sound ofcat;

9. Uvular: back oC tonglle and uvula, e. g. the common pronunciation of Frenchr

as in rouge orquatre;

!O. Phmyngal: rOOt of the tongue and phmynx; such sounds, produces with

strictures of close or open approximation, are found in certain Semitic

languages, e. g. Arabic:.14

The manner of articulation is indicated by the third tenu, which specifies the

degree of stricture and also, on occasion, other infonuation. The following is the list:

I. Astop is made with a stdcture of complete closure and with velic closure.

2. A stop released by a pulmonic egTcssive airstream is a plosive: the voiced

bilabial plosive [b] inI'e.

-_

...

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3. A nasal is made with a stricture of complcte ｣ｬｯｳｵｲｴｾ and with velic opening;

for evelY plosive th0re is a cOlTesponding nasal: to [b] con'esponds the voiced

bihlbial nasal [m].

4. A trill or roll is made with intermittent closure allel11ating with open

approximation, for e:[ample the above mentioned noises of stage 'Scotsmen'

(voiced alveolar trill [I'Dand French cabaret singers (voiceo uvular tlill [RD.

5. A fricative is ｭ｡､ｾ with close approximation: the voiceless labiodental

fricative

if]

infee.

6. An approximant IS made with open approximation: the voiced palatal

approximant[j] inyou.

7. A lateral is made with central closure but lateral open approximation; ifthe

tongue is involved, p,lrt of thc central lengthwise portion of its surface makes

complete closure with the roof of the mouth, and ou side of the tongue is

lowered (or both sides may be) to fOl111 a stricture of open approximation,

allowing the airstream to escape laterally without audible friction; such sound

is the voiced alveolar lateral [I] inlaugh.

8. A tap is a ballistic movement, equivalent to 'one strike of a trill'; for example,

a voiced alveolar tap [I'] is made by flicking the tongue at the alveolar ridge,

forming momentary c'Jmplete closure.

9. A more ambitious b'lllistic movement is responsible for a flap. A voiced

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approximant, then 'Happing' the tongue on to the floor of the mouth so that it

shikes the alveolar ridge in passing.15

Vowels are sounds 1lI1de without any closure- you alter the shape of yonr lips

and change the position of yeur tongue to make the sound 00 and ee, but you do not

block the air coming out ofycJUr mouth.16

In vowel sound production, there are three valiables involve; these are the

posture of the lips, and the position and the shape of the tongue. ｾｴ can be summed up

as follows:

1. Lips (i) roundedas in,?ooseandgeese (ii) unrollndedas ingeese.

2. Vel1ical axis (i) close as in goose and geese (ii) ｨ｡ｬｦｾ｣ｬｯｳ･ as in most Scots

English ray and rope (iii) half-open as ingetand thought(iv) open as in halve

and crass.

3. HOlizontal axis (i)front as in see, get, crass and Scots Englishray (li) central

as in RP learn and Scotsglide (iii) back as in pool, bud, RP halve and Swts

Englishrope.17

D. Phonetic Notation

Such a group of su:mds constitutes a phoneme of the language, ,md the

individual sounds in the grO!lp arc the allophones of that phoneme. Phonemes are

" Ibid,p.52-4

16Joanna ThombombOlTow,Patlernin Language: An Ill1rodUCliotlto Languageand LiteraryStyle,

(London: Routledge, 1998), p. 20

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abstractions or elements of fOem since each is the result of grouping concrete sounds,

and they are unpronounceable, for it is impossible to pronounce a group of sounds

. I I 18

SUIlU taneous y .

Allophones are prono'lIlceable in the sense that any single speech-sound is an

allophone of some ｰｨｯｮ･ｭｾＬ they are elements of substance, the exponents or

realizations of abstract phoniJme. Phonemes appear between slash bracket / /, and

conventionally represented by IFA symbols.19

In order to analyze and dCSClibc sounds accurately, a systcm has been

developed which is quite independent of the spelling system. TIlls is clilled phonemic

notation (or sometimes phonetic notation, a more detailed version); tillS is the system

used in dictionalies to indicate how a word is usually pronounced. The phonetic

not',llion that now regarded DS the standard method of phonetic notation is the IFA

(Tntemational Phonetic Alphabet). TIlls alphabet was developed from the late 1880s

onwards by a group of language teachers and phoneticians in Western and Northern

Europe called the IFA (Intemational Phonetie Association). The use of ｳｱｵ｡ｲｾ

brackets [ ] indicates a phonetic transcription.2o In tillS research 11m wIiter take The

Random House College Dir.tionalYpublished by Random House, Inc in New York

1975 as reference guide dictio:laIy for pronunciation.

ISIbid,p. 68

" Ibid,p. 69

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K Poetry

Poetry has two basic types: narrative and lyric. A nan'ative poem is a poem

that tells a story: the main kinds are epic, ballad, and romance. A lyric is a poem in

which the poet offers a direc, response to some aspect of experience, for example the

death of a ｦｲｩ･ｮ､Ｎｾｬ Today, lyric poem means any short poem. Different types of lyric

poem are: haiku, ode, elegy, wnnet, limerick, randel, l1iolet, and villanelle.

Poetry has several e1('1I1ents, they are:

I. Rhythm and Eletel'. Iihytlun in poelly mcans thc flow or movcmcnt of sound

in a line produced by language, whether it goes fast or slow, is ;alm or

troubled.22 Meter means the pattem of stressed and unstressed syllables ir, a I·_me₀f'_poeby.-?3

2. Sounds. Poels oftcn use thc sounds of words to creat,; elTccts in their pocms.

The most conUl1on type of sounds are: rhyme or rime, alliteration, assonance,

and onomatopoeia.

3. Imagery. This teml rei'ers to tile sensations that language creates in the mind.

4. Figurative language. Poets usually usc words and languages not in the literal

sense but in an im<l,!,inative way. Several kinds of tigurative language are:

simile, metaphor, personification, apostrophe, hyperbole, antithesis,

synecdoche, paradox, and symbol.

2!John Peck and Marlin Coyle,Cp Cit.,p. 14

2!Ihid.,p.DO

[image:24.537.61.470.160.572.2]

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F. Drama

What m'lke drama identified as a unique f(Jrln of literature? Unlike from two

genres of literature: poehy dad novel, drama has a distinctive appeanmce of a script,

with its stage directions, character parts, divisions into acts and scenes, and to be

pcrfonned in front of spectators in a stage by actors who take on the roles of the

characters through dialogue a'ld actions.

Thcre are two mOSl common dramatic fonns: tragedy and comedy. Many

plays comhine more than one form. In the simplest delinition, tragedy is ,I play that

ends with the death of the main character.24

Tragedy raises impnr(ant questions ahout the meaning of existence, morality,

and social or psychclogical relationship. Aristotle identified the emotional effect of

tragedy as "the arousal of pity and fear,,25

Comedy is based on some exaggerated or eccentric OCCUITence or behavior.

Comedy can be both critical and playful, and it tlies to arouse responses range

. I . "6

lletwecn scom ane .loy.·

Dramatist builds Ii play in the longer divisions called acts, and acts are

somctimcs {\irther divided into scenes. Beside that, there are some clements of drama

those make the play 'lttractivc.

I. Plot. Plotmcans a summmy of a play's StOly.27 Thc structure of the plot can be

summed up as fclbw: a play bcgins with exposition, which presents

,.jJohn Peck and Marlin Coy'e,01' CiI.,p. 99

""Drama",The World Book Encyc'opedia, (Chicago:WorldBook,tnc,1985), Vol 5,p.269

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characters and setting and introduces the basic situation. Then, duling the

raising action, the action builds in intensity. The raising action culminates in a

climax, the plot's tension pe'lk. Finally, during the falling action, the intensity

subsides that is callee' a resolution or denouenemenl.

2. Charactcrs. How a character acts and how she or he reacts to other characters

or to particular events- conveys the characters values and attitudes. Incidents

develop tlu'ough tht' :,peech, behavior, and action of characters.

3. Thought or theme. In dramatic structure, thought includes the idcar and

emotion implied by ':he words of all the characters. Thought also includes the

ovefall meaning of the play. Sometimes called tile theme. Thought or theme

of the play can be portrayed by its tille, its conflict, dialogue between its

characters, and its staging.

G. Kind or Souud Patterning

J. Rhyme (or rillie), dcfmed most narrowly, occurs when two or more words or

phrases contain an identical or similar vowel-sound, usually accented, an.1 the

consonants-sounds (ifany) that follow the vowel-sound arc identical: l,ay and

sleigh, prairie "'chC'ol'lcr andpiano tuner. From thcsc cxamplcs it will be seen

that rhyme dcpends not on spelling but on sound28 Rhyme is usually reserved

2'1Ibid

;yX.1.Kennedy,Luera/lire: AnJnfroducliollloFicliotl,PoelJy andDrama,(New York:

(27)

to refer to the final syllables of different lines of poetry when the vowel and

syllable-final consona'1ts (if any) of the words in question are identical.29

There are teclmicaltenns for different kinds of rhyme, they are:

a. End rhyme oc;urs at thc end oflines

b. Internal rhym2occurs within the lines

c. AJasculineorstrong rhymeis a single stress-syllable like hillandstill

d. Feminine or weak rhyme is two rhyming syllablcs, a strcssed one

followed by an unstressed one, for examplehollowandfollow

c. E)'e or courtesy rhyme is words spelt alike but not actually rhyming,

for example love andprove

f. Imperfect rhyme also calledpartial, near, slant, or off rhyme is words

which du not quite rhyme and so produce a sense of discordance, for

examplesouiandwall

g. Half rhyme also called consonance is repetition of the same consonant

sounds ｢･ｦｯｲｾ and after different vowel, for example groaned and

groinuf0

2. A!literalion primalily involves the repetition of the same or similar

consonants.31 Alliteraiion is usually at the beginning of the words although

this is not always so. Here example fi'om one of old poems of end »f the

fourteenth centlllY:

29Mick Short,Op. CiI.,p. 113

(28)

In a summer season when soft was the sun, I shope me in slu'ourh as I a shepe were.

Here dearly S0en the alliteration, the repetition of the

lsi

sound at the

words summer, season, soft and sun in the first line and the Ish/ sound of the

wordsshope, shrouc,'sandshepein the second.

3. Assonance is the tenn traditionally reserved for pattel1ls of repetition between

vowel sounds.32 This generally takes place at the end of lines, but necessarily

so. Two lines from Marlowe's poem 'The Passionate Shepherd' is the example:

Come live with me and be my love And we will all the pIc.asurcs prove

At the first line, the initial III sound repeats at Illvl, 11'1I101 and Iwll/

and the initialIA/ sound seen inIkAmland!IAv/.

(29)

CHAPTER III

RESOLT OF THE RE:SEARCH

A. Introduction

After analyze the texts uttered by the leading characters in Macbeth, the writer

found forty items those Gonsist of sound patteming: rhyme, alliteration, and

assonancc. They scattered from Act Onc until Act Five. After that, the writer

describes sound and phonetic notation of them. Finally, the writer makes a table that

maps sound patteming t1lat depicted by a main character at what act, what scene, and

what linc itlcHHld.

In this research, texlt; of t11c play taken fi'om Macbeth William Shakespeare

Complete School Edition published by Macmillan Education Ltd in London at 1986.

B. Result of the Research

1. Macbeth

a. Act One, Sce,ne TIu'ee, Line 81-82

Into the air; and what seemed corporal melted

As breath into the wind. Would t11ey hadstayed!

Melted and stayed depicted as end rhyme. The two words have final

IdlsoumIs. Its IPA symbol is [dl.

b. ActｏｮｾＬ Sccne Tlu'ee, Line 147-148

Come what comemay,

(30)

May at the end of the first has the same fmal leIJsound with dayin the

second. It calted masculine or strong rhyme. Its phonetic symbol is

leI].

e. Aet One, Seer'e Four, Line 50-54

The Prinee or Cumberlan:l! Thatiq astep

OnwhichJm'lstfall down, or ･ｌｾ･ a 'erleap,

For in myway itlies. Stars, hideyourfires,

Let notlightseemyblaek and deep desires;

The eyewink at the hand; yet let thatbe

Which theeya fears, when it isdone, tosee

[Exit

Step and o'erleap have a sense of the same Ipl sounds, can be

categorized as imperfect rhyme. The IPA symbol is [p]. Fires and

desires have the similarity oflsi sound at tlle lond, which is known as

end rhymc. rllc 11'1\ symbol is [s]. Masculine rhymc also occurs in

wordsbe andsee. Its ll'A symbol is Ii:].

Assonancc oflayl sound occurs in wordsJ, my, lies, hide, fires, light,

desires, eye, and eye. Its IPA symbol is [aI].

Alliteration of1m!sound oCClU'S at first syllable in words must, my, and

my. The IPA symbol is [m].

AIliterat.on of If! sound occurs at the beginning syllablein wordsfall,

for,fire:" andfears. The IPA symbol is [f].

Alliteration (,j IdJ sound occurs in the first syllable of words down,

(31)

Alliteration of Iwl sound occurs at thc fIrst of words: which, which,

andwhen. The' IPA symbol is [w].

d. Act Two, Scenc One, Line 60-65

Which now suits with it. Whiles I threat, helives;

Words to theIteat of deeds too cold breathgives.

[A bell rings I go, and it is clone; the bell invites me. Hear it not, Duncan, for it is aknell

That surnrnOlli; the to heaven, or to hell. [EXit

End rhyme is represented in words lives and gives, they are rhyme for

the sound lsi, its IFA symbol is [s]. Masculine rhyme occurs at words

knelland helllhosehaveIIIsound at thc cnd. The 110A symbol is [I].

e. Act Tlu'ce, Sc.;ne Onc, Line 140-141

It is concluded. Banquo, thysoul'sflight, Ifit fmd heaven, must fuld ittonight.

[Exit

Rhyme happc:lS at the fmalll! sound of wordsflight and tonightcalled

feminine rhyme. Thc IPA symbol is [t].

f. Act Three, Sc·;ne Four, Linc 23-24

Butno\, I am ::abined, cribbed, cOll/ined, boundin To saucy doubts and fears. But Banquo'ssafe?

Alliteration of 11<1sound here happens in fu'st syllabie of word cabined,

(32)

Alliteration of fbi sounds heard at the first of words: but, bound, out,

and Banquo. The symbol represents the voiced, bilabial, plosive

consonant somd heard inback, cabin, andcab. The lPA symbol is [b).

g. Act Four, SceM One, Line 94-101

That will neverbe:

Who canimPPlSS the forest; bid the tree

Unfixhis earth-bound root? Sweet bodements!Good!

Rebellious de"d, rise neve1' till thewood

Of Bimam rise; and our high-placedMacbeth

Shall live the lease of Nature, pay his breath

To time and mortal custom. Yet myheart

Throbs to know one tIling: tell me, if you art

Rhyme happens in words: be and tree is masculine rhyme, it has

similar li:1 sound. Its TI)A symbol is [i:]. Good and 'wood are end

rhyme because thcy have Idl similar sound. The lPA symbol is [d).

A1acbeth and breath are end rhyme because they have similar 181

sound. Its TIJA symbol is [8]. End rhyme occurs at words heart and art

those ha\e sUT.ilarItIsound. The lPA symbol is [t].

h. Act Five. Scer.e Three, Line 9-10

The mind I sway by and the heart Ibear

Shall never sag with doubt nor shake withfear.

Bear andfear are end rhyme. They are rhyme for the same11'1 sound.

Its lPA symbOl is [r).

1. Act Five, Scene Three, Line 59-60

I will not 00 aft'aid of death andbane

Till Bimam [Oi'cst come to Dunsinane.

(33)

Imperfect rh;'me happens in final sound of words bane andDunsinane.

They have two similar In! sound but the syl.lable of two words are different. The IPA symbol is [n].

J. Act Five, Scene Five, Line 42-52 I pull in my resolution, andbegin

To doubt th' 0quivocation of thefiend,

That lies like tlUth: 'Fear not, till Bimamwood

Do come to l)unsinane' ; and now awood

Comes toward Dunsinane. Ann, ann, and out! Iftills which he avouches doesappear,

There is nor flying hence, nor tarrying here. l' gin to be｡ｷｾ｡ｲｹ of thesun,

And wish th' estate 0'the world were now undone.

Ring tile alamm bell! Blow wind! comewrack!

At least we'll die Witll harness on ourback. [Exeunt

The words ｢ｾｧｩｮ to fiend are imperfect ｲｨｹｭ＼ｾＮ End rhyme occurs at

woodto woodthose have initial/clJ sound. The IPA symbol is [d]. End rhyme is rep! esented at words appear to here tlu'ough the same Irl

sound. The IPA symbol is [r]. Imperfect rhyme reflects at wordssun to

undone. End rhyme occurs at words'wrack to back. They are rhyme at

soundIlJ. ils IPA symbol is [I\]. k. Act Five, SCGmSeven, Line 13-14

But swords I smile at, weapons laugh toscorn,

Brandished by man that's of a womanborn.

[&it

(34)

2. Lady Macbeth

a. Act One, Scene Five, Line 21-22

That wouldstthou holily; woulds! not play 1il1se, And yetwou/<I"t wrongly win.

Alliteration I)f Iwl souncl presents III the first syllable of words woul&t, 'wouldst, woulds!, .,,,rongly, and win. Its IPA symbol is [w].

b. Act One, Scene Seven, Line 49-51

When you､ｵｲｾｴ do it, then youwere aman; And to be mdrethanwhatyouwere,youwould Be so much morethe man.

The alliteration ofIwl sound occurs in the first syllable of words when

andwhat. The phonetic notation is [w].

Alliteration of Iwl sound also occurs 111 beginning of words were,

were, andwOl,ld. The IPA symbol is [w].

Alliteration of Im/ sound happens at the first syllable of man, more,

much, more, andman. Its IPA symbol is [m].

c. Act TIu'ee, S-:;ene Two, Line 4-7

Nought's had, all'sspent,

Where ourdeoire is got withoutcontent. 'Tis safer tol)() that which we deotroy Than bydestruction dwellindoublfid joy.

Imperier,t rhyme h:lppens in words open!:Ind content and it also occurs

in words deStroy｡ｮ､ｪｾｖＮ

Alliteration of Idl sound occurs 111 first \YOI'd of desire, deotroy,

(35)

3. Duucan

a. Act One, Scene Two, Line 1-2

What bloody hlan is that'! He canreport, As seemeth by Ius plight, of the revolt

'111e words re]'ortand revolt are rhyme even though not so exactly but

have identiced sound between report and revolt. It called imperfect

rhyme. The Ipl sound at the first opposed with the Ivl sound at the

second as the 11'1sound and the IIIsound are opposed but the lEIand/tl

have the simiwr sound.

b. Aet One, Scer.e Two, Line 44-45

So well thy words becomc thee as thywounds, They smack o.f honour both. Go get himsurgeons.

[ExitCaptain

The sounds ofwounds and surgeons in the sense have almost identical

sounds so thcy are in1perfect rhyme.

c. Act One, Scene Two, Line 64-65

Go pronounr,e Ius presentdeath,

And with his fonner title greetMacbeth.

Rhyme of10/ final sound in words death andAIacbeth are sinrilar. TIus symbol represents the voiceless, dental 01' interdental, fde,lt:ve

consona:lt sound heard in thin, ether, and smooth. Its IPA symbol is

[0].

d. Act One, ｓ｣ｾｰ･ Four, Line 19-20

(36)

Moreis thy due thanmore than all canpqy.

Say andpay represent the similarleI! ending sound, which is ｾ｡ｬｬ･､ as masculine rhyme. The IPA symbol is [el]. AJliteration of Iml sound occurs in wo':r!s might, mine, more and more. Its TI>A symbol is [m].

4. Malcolm

a. Act Four, Sce<1e Tlu'ee, Line 45-49 When 1shalltread upon the tyrant's head Or wear it on mysword, yet my pOOl' eounuy Shallhave more vices than it had before, Moresuffer, 2nd moresun(1I)Iways than ever, By him thatsl,all succeed.

Alliteration ofIj/ sound hears in the beginning of words: shall, shall andshall. Itsll)A symbol is [f].

Alliteration of lsI sound shows at the fIrst of words: sword, sujfer, sundt)l, and:;ifcceed.The ll'Asymbol is [s].

b, Act Four, Scene Tlu'ee, Line 209-210

Give sonow 1'lOrds. The gtief that does notspeak Whispers the o'erfraught heart and bids itbreak.

Speak aud bl'>!akgive a representation of end rhyme. They are rhyme atIkI sound <,nd have a symbol in II'A as [k].

5. Macduff

Act rive, Seene Six, Line 9-10

tv1ake all our trumpets speak; give them allbreath, Those clamorol.s har[.ingers of blood and death.

(37)

End rhyme represents in the final 101sound of words breathand death. Its IPA

symbol is [0].

6. Banquo

Theircandles are all0Ut. Take thee that too. A heavy summonslies like leadupon me,

Alliteration of161 sound happens in the beginning words of theil', thee, and

that. Its ll)A symbol:.c: [6].

Alliteration of ItI s:·nncl presents at first of words take and too. The IPA

symbol is It].

Alliteration of11/ so:md occurs in first words of lies, like, and lead. Its ll) A

symbol is [I].

Assonance oflaylsound occursin words lies and like. Its ll'A symbol is [aI]. 7. First Witch

a. Act One, Sr;er,e One, Line 1-2

When shall we three meet again? In thunder, lightning or in rain?

Again and rain are end rhyme because they have the same two final

sounds:lem/.

b. Act One, Scene Three, Linc 9-10

But in a sieve :'11thithersail, And, lil<t; a rat without atail,

The words sailand tail are weak or feminine rhyme. TheleI! sound in

(38)

c. Act Onc, Scer;e Three, Line 18-25

I'lldrnin himcity ns hay;

Sleep shall nei11lCr night norday I-Inng uponhibpenthouse lid; He shall live a manforbid.

Weary sev'n-nights nine times nine Shall he dwme1]e, peak, andpine. Though his bark cannot be lost, Yet is shnll be tempest-tossed.

The rcpresentution of masculine rhyme occurs at the last words hay

and day. They have the same/eyl sound. Its IPA symbol is [eI]. Words

lid and forbid are imperfect rhyme. Their similarity lies at lell soune!.

Its IPA symbol is [d]. End rhyme is represented at words nineandpine

those have similnr Inl sound. The IPA symbol for that is [n]. Words

lost andtossedare imperfect rhyme.

d. Act One, Seene Three, Line 28-29

I-Iere I hnve E, pilot'sthumb,

Wrecked as homeward he didcome.

Here eye rhyme reveals in the final words of thumb and come. They

have initialIm/sound. Its IPA symbol is [m].

e. Aet Four, Seene One, Line 4-9

Round about ,he cauldrongo;

In 111e pOiSOl'c1entJ'ilillhrow.

Tond that under cold stone Days nml nigJlts hast thirty-one Sweltered venom sleepinggal,

(39)

Imperfect rhy!ne occurs in words go and throw. Masculine rhyme also

happens in words gotandpot. The two words have the sameIt! sonnd.

The IPA symbol is [tJ.

f. Act Four, ccene One, LineI27-132

Come, sisters, cheer we up hissprites. And show the best of ourdelight. I'll chann the ｾｩｲ to give asound, While you perfonn your antie round, That tlus great king may kindlysay Our duties did Ius welcomepay.

Imperfect rh:l'ne occurs in words: sprites and delight. Words sound

and round are end rhyme. Words say andpay arc masculine or strong

rhyme. They have similarleylsonnd. 'llle

n)

A symbol is [elJ.

8. Scwnd Witch

a. Act One, Scene One, Line 3-4

When the hurljburly'sdone, When the battle's lost andwon.

Done and Wail rhyme because at the end of the lines have tile same

two final sounds: 11111. Thc F'I symbol represents a sonnd commonly

known ｾｳ the "short" 11, as in lip and love. It is typically a low, celltral

vowel fanned with relatively lax tongue muscles and with uuro unded

lips. The IPA symbol is [AJ. The In! sound at the end of the words is

(40)

b. Act Four, Scene Onc, LinG 12-19

Fillet of a feInysnake; In thc cauldron boil andbake: Eye of newt, ｾｮ､ toe of/rog, Wool of bat, and tongue ofdog, Adder's fork, and blind-warm'ssting, Lizard's leg "lId howlet's wing, For a chann of powerfultrouble, Like a hell-brC'th boil and bubble.

Here we can sce eye rhyme at the final sound of words snake and

bake, Fog anddog, stingand1ving, and trouble and bubble.

c. Act Four, SC,",/lC Onc, Linc 37-38

Cool it )\ithｾ baboon's blood, Then thi;: channisfmn andgood.

Even though blood and good havc thc same final sound, they are

imperfcct rhymc.

d. Act Four, SceJle One, Line44-47

By the prickin;!: of my thumbs, Something wic.ked this maycomes; Open, loch,

Whoeve" knocks.

Thumbs and c?me are impcrfect rhyme and masculine rhyme oceurs in

locks andknocks.

9. Third Witch

a. Act One, SeClle TlJrce, Line 30-31

A drum, aclru111!

(41)

1(1, All

DrtllII in the tirst and cOllie in the second haw ｩ､ｾｮｬｩ｣｡ｬ Iml ,ound can

be categot1z"d as eye rhyme. The II'A symbol is [mi.

b. Act Four, Sc'me One, Line 22-34

Scale of dragon, tooth ofwolf;

ｗｩｴ･ｨ･ｾＧ mUlllmy; maw andgulf Of tht' ravincd salt-sea shark; Rool of hembck digged i'the dark; Liver of biasl 'hemingJew;

Gall of goal, .md slips ofyew Slivered in th; moon's eclipse; Nose of Turk, and Tarlar's lips; Fil1ger of｢ｩｲｬｾｬＭｳｴｲ｡ｮｧｬ･､ babe Dilch-delivered by adrab, Make Ihe gnd thick and slab: Add Ihere to .I tiger's chaudron

For Ih' ingre(lience of ourcauldron.

Eye rhyme happens in words wolf and gu!l. End rhyme occurs in

words shark,md dark. IVlaseuline rhyme is presented in wordsJew and

yew. Imperfeel rhyme reflects at words eclipse and lips. End rhyme

shown in words drab and slab and chaud/'on and cauldron have

feminine rhYGle.

a. Act One, Scede One, Line 10-11

Fair isfoul, a'ld/bul is)<<i/':

!lover ｉｨｲｯｵｾＮｨ IheFyg andjililw,!i/,.

[1i\ell1ll

Here end rhyme appears Il1 Ihe final Iwo syllables in words .kdr and air. Words/airJouIJoul, and}"ir allhe first li.ne andjbg andjillhy at

(42)

the beginning of the words. This symbol represents tIlt' vOIceless,

labiodental, fi'ieative consonant sound heard in fit, differ, and

p4/

Its

11'/\ symllol is [fl.

b. Act One. Scene Three. Line 32-36

The Weird Sisters, hand in hand, PoslLors of Ihe sea and land, Thus do go aboul, ;Ibout,

Thrice to thine, and thrice tomine, :\ndthrice ag;lin, to make up nine.

Here end rhyme occurs in words handand landal the Erst and second

lines and cnd Ihyrne ,II words mine andnineal the ()rlh and firth lines.

Allitcration or 1M sound occurs in words the, thus, thine. lis 11' A

symbol is [il]. The allitcration of /01 sound occurs in won!:> thrice,

thrice, andthrice. The It'A symbol is [0].

c. I\ct FOUL Sccoe Onc, Line 10-]] Doubk, doubk. toil and trouble; Fire bum. and cauldronbubble.

Words trouble and bubble have Ihe similar ending sound can classified

as rhyme.

b. Ac·t Four, Scene One, Line 20-21

Double, double, toil and Irouble; Firc burn, and cauldron bubble.

Imperfect rh:; me happens at the Enal sound of words trouble and

(43)

c. Act Four, Sce:lc Onc, Line 35-36

Double, double, toil and trouble;

Fire burn, and r-auJdronbubble.

Words ｴｲｯｵｨｩｾ and bubble are imperfect rhyme because they have

ratherｾｩｭｩｬ｡ｲ 0nding sound.

d. Act Four, Sccne Oner Line 11 0-111

Show his eyes, and grieve his heart;

Come like sh,;dows, sodepart.

Heart and depart are end rhyme beeause they have the same fmal

(44)

ble of Kinds of Sound Patterning

Texts of the play taken fromM acmillanlvfodem Shakespeare Macbethpublished by Macmillan Education Ltd in London at 1986.

All the pronunciation keys and symbol of sowlds derived from 17,e Random Hov.se College DictionaryRev Ed published in New York by Random House, Inc at1975.

I

1

Sound and Phonetic Notation

I

COi*PUS

I

'

Sound Patterning

i

A

I

S

I

Line

C

I

C

t e

I:

I

e

i

I

,

i

1acbeth I

31 81- Rhyme Into the air; and what seemed Ilvleltedandstayeddepicted asｾｮ､ rhyme, they have two similar initial

82 corporall1lelted

I

Idlending sound. Its IPA s)""bol is [d].

I

ａｾｾｾｾｾ breath into the wind. \Vould II _

facbeth _{1 I 31147-}

I

_Rhyme Come what comemay,

I

Words those classified as strong or masculine rhyme aremayandday.

I

148

I

Time and the hour runs through the

I

They have the sameleylsound at the end. The IPA symbol is [e1].

I I roughestday.

facbeth ' 1 4 50- ' Rhyme, The Prince of Cu.mberland! That is

I

Step ando'rleap are imperfect rhyme, they have the sameIplsound. Its

54 Alliteration, astep IPA symbol is[p].

and Onwhich I must fall､ｯｷｦＧｾ or else IFires and desires are end rhyme, they have the samelsi sound. Its IPA

I

Assonance o'deap,

I

symbol is [s].

I For in mv wav it lies. Stars, hide

I

Worr1<betoseeare masculine rhv111e, they haveIi:!SOUlld at the end. Its

I

-' J .. ｾ

yourfires, IPA symbol is [i:].

Let notlightseemyblack and deep

i

Alliteration ofIwlsounds seems in the beginning ofwords: which, which

desires;

I

andwhen.Its IPA symbol is [w].

I

The eye wink at the hand; yet let

I

Assonance oflaylsound shows on words: I, my, lies, hide, fires, light,

thatbe my, desires, and eye. The symbol repre,ents a sound commonly known

Which the eye feurs, when it is as the "long" i,as heard inice, bite, pirate, anddeny. The IPA symbol is

I

done, tosee. [aI],

[EXit Alliteration ofIf! sound heard at the beginning of words:fall, forand

fiars. The symbol represents the voiceless, labiodental, fricative ,eading

(45)

I

I I

I

Macbeth

j2

₁

160-1 65

Rhyme

I

IVhich now suits with it. 'Whiles I

threat, heh\-'es;

I IVords to the heat of deeds too cold

breathgives.

[A bell rings

I go, and it is done; the hell invites

,

,In,;;.

Here it not, Duncan, it is aknell

That summons thee to heaven, or to

hell.

I

consonant sound heardinfit, differ, andPlifJ.The IPA symboris [t].

Alliteration ofImlsound heard at first syllable of wordsmust, must,and

. my. The IPA symbol is [m].

Alliteration of Idl sound reflects at begifu-llng of words dawn, deep, desires, and done. Its IFA symbolis [d].

The words lives andgives are end rhyme, because they have rhyme for soundIs!. Its IPA symbcl is [s].

Masculine rhyme occurs at words knell andhellthose have similar III

sound at the end. The IPA symbol is [1].

I

[E.

I I, _! _I Ikxlt _I

Macbeth 3 1 140- !Rhyme and It is concluded. Banquo, thy soul's Flight and tonight are feminine rhyme because they have two initial

141

!

Alliteration flight, endingIt!sounds but have different syllable at the first. Its IPA symbol,

I

Iftonight.it find heaven, mustfind it out Alliteration ofｾｲｯ If!sound hears at the beginning ofwords:flight,find,and

I

,

[Exit find. This symbol represents the veiceless, labiodental, fricative I

consonant sound heardinfit, differ, andpuff.Its IPAsymbol is[l].

Macbeth 3

41 23- Alliteration But now I am cabined, cribbed, Alliteration of IkJ sound heard at the beginning of words: cabined,

24

,

I

,:onfined,

ｾｯｾｮ､

in ,r

ｾＮ

cribbed, and confined. The symbol represents the voiceless, velar,

plosive consonant sound heard in kert, keep, coop, scoop, taken, and

,

10saucyaouotsana rears.nUl

I

Banquo'ssafe? make.Alliteration ofIts IPAsymbol is [k].fbisound heard at the first of words: but, bound, butand

Banquo. The symbol represents the voiced, bilabial, plosive consonant sound heard inback, cabin,andcab. The IPA symbol is[b].

,

Macbeth 4 1 94- Rhyme That will neverbe: Rhyme that happens at words be and tree is n;asculine rhyme, it has

(46)

ITT

I

i Rebellious dead, rise never till thebodements!

goodf---

--rsouna-:-fhe lPA sy1nbol is (8]. End rhyme occurs at wordsI' those have two similarIt!sound. Its lPA symbol is (t]. heartandart

I

!

ｩｾ､

I

IOf Bimam rise; a.'1d our high-placed

i

I

Macbeth

I

Shall live the lease of Nature, pay

I hisbreath I

To time and mortal custom. Yet my

heart

mobs to know one thing: tell me, if youart

1

- The mind I sway by and the heart I IBearandfearare end rhyme. They are rhyme for the same /rl sound. Its

bear lPA s)'nlbol is (r].

, Shall never sag with doubt nor

I

'

I

Rhyme

I

9-10

51

3 I ,

I

1 Macbeth i

,

I

-.--..--

ＭＭＭｾＭＮｉＭＭＭ ,

Macbeth 513 59- Rhy111e

I

I will not be afraid of death and BaneandDll1Jsinl1JJeare imperfect rhyme, because they do not have Ll-ze

I

60 I bane same syllable but only similar endingIn!sOlli'1d. Its lPA symbol is (n]. I

I

Till Bimam forest come to

I

Dunsinane.

I

(R'Ceunt all butDoctor

I

Macbeth

51 5 42-₅₂

I

Rhyme

I

I pull in resolution, andbegin

I

The wordsbeginandfiendare imperfect rhyme. ｾ

I

To doubt th' equivocation of that End rhyme occurs at words woodand wood those have initial Id/ sound.

I

fiendThat lies like truth: "Fear not, till IThe IFA SYllibolEnd rhyme occurs at wordsis [d]. appearandherethrough the sameIr/sound.

I _Bimam_wood _{Its lPA symbol is [r].}

1 _{Do come to Dunsinane'.; and now a} _{Imperfect rhyme occurs at words}_sun_and_wrdone.

wood End rhyme occurs at words wrackandback. They are rhyme at sound

I _{Comes towards Dunsinane.} _Arm, _00. _{The lPA symbol is (k].}

I

am1,and out!

If this which he avouches does

appear,

(47)

[Exeunt

tarryinghere.

I19into be 3\veary of thesun,

And wish th' es:ate 0' the world Vlcre nowundone.

Ring the alarum belli Blow wind! Comewracki

At least we'll die with harness on ourback.

l But- sworU::i I smilt at ",;0ByOf!S 1St.-'orlt ＦＮ［ｬｾ hOrll ale CilirliyT116. O":C&US0 ｴｾｊＮｃｙ ll&\-e ｴｾＮｔＮＺｃ similsr [mal /:1./1

I

i

I

.-:-_

) I

ｾＭＭＭｲ -

-I b-

I

ｒｬＧｙＱｬＱｾ

14

I

ｂｲ｡Ｇ［［､ｩ［ｨｾ｣ｩ by man that's of a

-- - - -' -- - - L- ｾ ,

womanbam.

[Exit

I

i

I

,

I ,

Lady 1 5 21- Alliteration That wouldst thou holily; wouldst Alliteration of /w/ sound heard at the heginning of words: wouldst,

Macbeth 22 not play false, wouldst, wouldst, wrongly,andwin. The symbol represents the voiced,

And yetwouldst wronglyK';n. bilabial-velar semivowel heard inw.standaway.TheJPA symbol is

I [w].

Lady 1 7 49- Alliteration Whenyou durst do it, then youwere

I

Alliteration of /w/ sound heardinthe first of words: when andwhat.Its

Macbeth 51

I

ｾｭｾｮ［ＮＮ

•

I

ｾｾｳｹｭ｢ｯｬｩｳｊｾ［ｬＮ

. . . _ .

I

IAna to Dewere, youwouldmore man wnar you

I

l'JmeratJon orwere, and would.IWI souna represents at me Degmmng or woras:The symbol represents the voiced, bila0ial-velarwere, I Be somuch morethemall. semivowel heardinwestand｡ｷｾＧＮ The IPAsyrnbol is [w].

Alliteration offro!sound reflects the beginning of wordsman, more, much, more, andman. The symbol represents the voiced, bilabial, nasal consonant sOlmd heard inmy, simmer,andhim.ItsJPA svmbol is

r

m]. Lady 3 2 4-7 Rhyme Nought's had, allisspellt, Imperfect rhyme occurs at words spelltandcontontas occurs at words

Macbeth and Where our desire is got without destroyandjoy.

(48)

fIn

1-2

I

Rhyme

I I

I

III

!

I

i

Alliteration ofIf/sound shows at the beginning of words: shall, shall

I

andshall, The IPA symbol isU].

Alliteration oflsisound heard at the beginning of words: sword, suffer, [

sdndryai"1dsucceed.TheJPA symbolis

r

s]. I

Words wounds andsurgeons in the sense have almost identical sounds, so they are imperfect rhyme.

Words reportandrevoltare rhyme even though not so exactly but have

I

identical sound between report and revolt. The Ipl sound at the first I

opposed witl1 the Ivlsound at the second as the Ir/ sound and/11sound 1

are opposed, but the161andIUsounds at the end have the smnlar sound.

Rhyme of the lei sound at the end of words death and Macbeth are similar, 1ms symbol represents the voiceless, dental or interdental, fricative consonant sound heard inthin, ether, andpath Its lPA symbol

I

is

re].

Say is end rhyme to pay, Both words have two the same ending leyl

sound. Its IPA symbol is [eI].

Alliteration ofImlsound heard at the beginning of words:might, mine, moreandmore, That symbol represents the voiced, bilabial, nasal consonant sound heard inmy, simme.",andhim.Its lPAsymbol is [m].

I

·

alveolar, plosive consonant sound heard

ill

dO,I:;Ldder, andbed. Its lPA

I

symbol is [d].

i

I

Gopronounce his presentdeath,

And with his former title greet

Macbeth

So well thy words become thee as thywounds,

They smack of honour both. Go get himsurgeons,

[E"z"ＮｾｾｲＧ｡ｾｴＭｭＧ... -r' ...

When Ishalltread upon the tyrant head

Or wear it on my S\1lord, yet my

poorCOUI1try'

Shall have more vices than it had before,

More suffer,and moresundryways

th3l1ever,

By him thatshall succeed.

What bloody man is that'! He can

report,

Asseemeth by his plight, of the

revolt

I

destroy

'TI1an bydestmction dwellin

doubtfilljoy

I

Mighthave beenmine! Only I have left tosay,

Moreis thy due thanmorethan all

canpaJ'.

Alliteration

I

Rhyme

1

[2]

44-, 45

4 I 3

I

45-49

I

,

il?1colm )uncan )uncan

1alcolm 4 3

209-210

Rhyme Give sorrow words. The grieve that does notspeak

Whispers the o'erfraught heart and

Speakandbreakgive a reoresentation of end rhyme, They are rhyme at

(49)

I

bid, itbreak.

Macduff 5 6 9-10

I

Rhyme IMake all our trumpets speak; give Words breath aJ1d death are end rhyme. They have similar181 sound at them allbreath, the end. Its IPA symbol is [8].

, Those clamorous harbingers of blood anddeath.

[Exeunt Alamms

,

i

Banquo

12

1 15-6 I' Alliteration

I

Theircandles are all out. Take thee

I

Alliteration of161sound heard at the begilli-llng or" words:theirandthee.

and that too. This symbol represents the voiced, dental or interdental, fricative

ａＧｳｯｾＭＭＭ･ A ""1'"ｓＢｾＭＭｏＭＧ " , ."h1-'-' I'o--or=t Ｌ｣Ｂｲｾ

11-ard

ir "-at -"1"'/' ｯｾ､ swoo'!- 'i'h.lP '\ ＭＬｾｨｯｬ i.

f ."U

ｵ］Ｌｾ

ｾｰｾｾｾｾ･Ｌ

ｾＬ

.... ,." ,,,,

ＬＧｾＢｾｾＮ

ｾｃ･ＺｾｴｩｾＺ

ｯ［ｾＺ

S:und

ＭｳｾＺｾｶｳＧ

ｩＺＧＺｾＺｾｾｾｾＺｦＧｗｏｾＺ

ｴｾｾｊｾｾＺ

to::

I I The symbol represents the voiceless, alveolar, plosive consonant sound heard inteam, steam, butter,andbit,Its IPAsyn1bol is [t].

I

Alliteration of11/sound represents at the first of word,: lies, likeand

lead. This symbol represents 1.."e voiced, alveolar, lateral consonant

I

i

I Assonance ofsound heard inlavllow, mellaw,sound heard at words:andall,Its IPA syn1bol is [1].lies and like, The symbol

I

represents a so';'d comillonly know,", as the "long"bite, derry,andpirate,The IPA symbol is[aI], i, as heard in ice,

First Witch 11 1 1-2 1Rhyll1e I

ｩＺＧｾｾＲＺＧＱＱＷｾＺ［ＺＺ

ｾＺｾｾ

ｾｾｾｾ＿

［［ＧＺｾｾ･ｾ｡ｩｮ

are end rhyme because they have similar two ending

I

•

The leyl symbol represents a sound cOliilnonly known as the

I

"long" aas in aid, cape,andway, The sound is l)'Picall)' a mid, front vowel, formed with relatively tense tongue muscles, and with the lips slightly more open and less spread, Its IPA symbol is [e] for monophthongal variant, [e1] for diphthongal one, TheIn!symbol represents the voiced, alveolar, nasal consonant sound heardnow, sinner,andon.Its IPA symbol is [nl

-:;:F""ir-s"tＭＺ［Ｚｗ［ＺＱ［ＭＺﾷｴ｣Ｍ［ｨ｣ＭＫｬＺＭｬＭ［ＳＺＭｦＭ［ＹＺＺＭ｟ＭＺＭＱＭＺ［ＺＰＭＫＢｒｨＢｹｭＭ･ＭＭＭＭｦＭｂｾｵＢｴｾｩｮＭｳｾｩＭ･｜ＭＧ･ｾｲ［［［ｉＧｬＭＬ［ｴｨｩｾＧｴｨＺ＾･ＭｲＭｳ｡ＭｬＢＧｉＬＭＭＭＭＫＮ［［ｔ［ＺＺｷＺＺＺＺｯＺＮＺＺＺ［ｲｨＬＺＺｹｭ］ｩｮｧＬＮＺＮＺＺＢＧｬＧ［ＺｩｮＺＺＧ･ＭＧＭｳＺＺＺＺｯＺＧＺ［Ｚ｢ｶｩｯｵｳｬｹ seen in words sail and tail. Saiiandtail

(50)

Hayand dayare masculine because they have the sameleylsound at the end. The symbol represents the "long" a as in aid, cape, andway. The i sound is typically amid, front voweL Its IPA symbol is [e] for the monophthongal, [eI] for the diphthongal one.

Lid andforbidare inlperfect even though kve the same Idl SOUild at the

ｾＥｾｾＺＺＺＺｾｾｾＺｹＺＺｾｾｾ

ｾｾｾｾ･

｢･ｳｾｵｾ･

ｴｨｾｹ

h3':e 'he c2rJe

ｾＧＮｶｯ

fbeJ

I

endingIn!sound. Its IPA symbol is [n].

Lost and tossedare imperfect rh.yme evenDleyhave tv/o similar ending

sound.

The wordsgoandthroware in,perfect rhyme.

Masculine rhyme happens at words got andpot. The two words have two similarIt!sound. The IPA symbol is [t].

'Words thumb andcomecan be classified as eye rhyme. Thumb andcome

have the same two [mal sounds: Imf Its IPA symbol is [m]. The Iml

represents the voiced, bilabial, nasal consonant sound heard in my,

I

simmer, andhim. TheIPAs_Ylnbolls [m].

Wordssprite;;anddelightare imperfect rhyme. Wordssoundandroundare end rhyme.

Words say and pay are masculine or strong rhyme. They have similar

ley/soU11d. TheIPAsymbol is reI]. Here 1 have a pilot's thumb,

Wrecked as homeward he didcome.

[Dn!m'within

Rowld about the cauldrongo; Inthe poisoned entrailsthrow.

Toad that U1lder cold stone Days and nights hastthirtyone Sweltered venom sleepinggot,

Boil thou firstilthe cha.rmedpot.

Come, sisters, cheer we up his

Poetic dialogues in shakespeare's macbeth

Poetic Dia.i,ogues in Shakespeare's Macbeth

ｬＢＢｾｐ､ＢｍＮ

ABSTRACT

,\CKNOWLEDGMENT

TABLE OF CONTENTS

CHAI'TERIVCONCLUSWN AND SUGGESTIONS 53

CHAPTER II

CHAPTER III

threat, heh\-'es;

ｾｯｾｮ､

goodf---

ｩｾ､

tarryinghere.

ｾｭｾｮ［ＮＮ

sdndryai"1dsucceed.TheJPA symbolis

poorCOUI1try'

canpaJ'.

ｵ］Ｌｾ

ｩＺＧｾｾＲＺＧＱＱＷｾＺ［ＺＺ

ｾＥｾｾ ＺＺＺＺｾ ｾｾＺｹＺＺｾｾｾ

Lost and tossedare imperfect rh.yme evenDleyhave tv/o similar ending

[Dn!m'within

ｾＥｾｾＺＺＺＺｾｾｾＺｹＺＺｾｾｾ