KARL MARX’S ABERRATION ON CLASS CONSCIOUSNESS
AS REFLECTED IN HIS
POEM “THE FIDDLER”
A THESIS
Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree
in English Language Education
By
Angela Bayu Pertama Sari
Student Number: 071214130
ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTEMENT OF LANGUAGE AND ARTS EDUCATION
FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY
i
KARL MARX’S ABERRATION ON CLASS CONSCIOUSNESS
AS REFLECTED IN HIS
POEM “THE FIDDLER”
A THESIS
Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree
in English Language Education
By
Angela Bayu Pertama Sari
Student Number: 071214130
ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTEMENT OF LANGUAGE AND ARTS EDUCATION
FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY
ii
A Sarjana Pendidikan Thesis on
KARL MARX’S ABERRATION ON CLASS CONSCIOUSNESS
AS REFLECTED IN HIS
POEM “THE FIDDLER”
By
Angela Bayu Pertama Sari
Student Number: 071214130
Approved by:
iii A Thesis on
KARL MARX’S ABERRATION ON CLASS CONSCIOUSNESS
AS REFLECTED IN HIS
POEM “THE FIDDLER”
By
Angela Bayu Pertama Sari
Student Number: 071214130
Defended before the Broad of Examiners
on 9 February 2012
and Declared Acceptable
Broad of Examiners
Chairperson : C. Tutyandari, S.Pd., M.Pd. ___________________
Secretary : Drs. Barli Bram, M.Ed., Ph.D. ___________________
Member : Drs. Ant. Herujiyanto, M.A., Ph.D. ___________________
Member : Ag. Hardi Prasetyo, S.Pd., M.A. ___________________
Member : C. Tutyandari, S.Pd., M.Pd. ___________________
Yogyakarta, 9 February 2012
Faculty of Teachers Training and Education
Sanata Dharma University
Dean,
iv
STATEMENT OF WORK’S ORIGINALITY
I honestly declare that this thesis, which I have written, does not contain
the works or part of the works of other people, except those cited in the quotations
and the references, as a scientific paper should.
Yogyakarta, January 24, 2012
The Writer
Angela Bayu Pertama Sari
v
LEMBAR PERNYATAAN PERSETUJUAN
PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS
Yang bertanda tangan di bawah ini, saya mahasiswa Sanata Dharma:
Nama : Angela Bayu Pertama Sari
Nomor Mahasiswa : 071214130
Demi kepentingan ilmu pengetahuan, saya memberikan kepada Perpustakaan
Universitas Sanata Dharma karya ilmiah saya yang berjudul:
KARL MARX’S ABERRATION ON CLASS CONSCIOUSNESS
AS REFLECTED IN HIS
POEM “THE FIDDLER”
Beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan
kepada Perpustakaan Sanata Dharma hak untuk menyimpan, mengalihkan dalam
bentuk media lain, mengelolanya dalam bentuk pangkalan data, mendistribusikan
secara terbatas, dan mempublikasikannya di Internet atau media lain untuk
kepentingan akademis tanpa perlu meminta ijin dari saya maupun memberikan
royalty kepada saya selama tetap mencantumkan nama saya sebagai penulis.
Demikian pernyataan ini saya buat dengan sebenarnya.
Dibuat di Yogyakarta
Pada tanggal: 24 Januari 2012
Yang menyatakan
vi ABSTRACT
Sari, Angela Bayu Pertama. 2012. Karl Marx’s Aberration on Class
Consciousness as Reflected in His Poem “The Fiddler”. Yogyakarta: English Education Study Program, Department of Language and Arts Education, Faculty of Teachers Training and Education, Sanata Dharma University.
Class discrimination of the power and the powerless occurs in our society. The power takes control on most aspect of life, while the powerless becomes the object of exploitation. This phenomenon has been identified by experts many years ago. Nevertheless, no one is able to completely stop it since social classes are automatically there.
This study analyzes Karl Marx’s poem “The Fiddler” aiming at examining Karl Marx’s aberration on class consciousness as seen in his poem “The Fiddler”. There are two problems to answer in this study. They are: (1) “what is the literal meaning of Karl Marx’s poem “The Fiddler”?” and (2) “how is Karl Marx’s aberration on class consciousness reflected in his poem “The Fiddler”?”
The primary data of this study is taken from the poem entitled “The Fiddler” and the secondary data are taken from related reference books, journals, articles, and online sources. In order to achieve the objective, the writer uses Marxism approach. The theories applied are literary theory especially that of poetry, review of literal meaning theory, theory of class consciousness, biographical theory and sociological theory.
There are two findings achieved from this study. The first finding is about literal meaning of the poem which describes the fiddler who is having conversation with someone observing his performance. The second finding talks about Karl Marx’s aberration on class consciousness: the poem pictures Karl Marx’s personal conflict dealing with his protest against his class consciousness. He chooses not to follow his class consciousness and helps the proletariat.
It is suggested that future researchers discuss the political aspect of the poem. As for education, the poem “the Fiddler” is recommended as the material to teach Poetry I for the sixth semester students of English Education Program, Sanata Dharma University.
vii
ABSTRAK
Sari, Angela Bayu Pertama. 2012. Karl Marx’s Aberration on Class
Consciousness as Reflected in His Poem “The Fiddler”. Yogyakarta: Pendidikan Bahasa Inggris, Jurusan Bahasa dan Seni, Fakultas Keguruan dan Ilmu Pendidikan, Universitas Sanata Dharma.
Perbedaan kelas antara pihak yang berkuasa dan pihak yang tertindas terjadi di masyarakat kita. Pihak yang berkuasa mengontrol hampir semua sisi kehidupan, sedangkan mereka yang tertindas mau tak mau menjadi pihak yang tereksploitasi. Kejadian ini sudah disadari oleh banyak ahli sejak lama. Namun begitu, tak ada satupun yang benar-benar mampu menghentikannya sebab kelas sosial sudah secara otomomatis terbentuk di dalam masyarakat.
Studi ini membahas puisi Karl Marx "The Fiddler" dengan tujuan untuk mengamati sikap Karl Marx yang menyimpang terhadap kesadaran akan kelas seperti yang terlihat dalam puisinya "The Fiddler". Ada dua masalah yang akan dijawab dalam studi ini. Antara lain adalah: (1) “apa arti harafiah dari puisi Karl Marx “The Fiddler”?” dan (2) “bagaimana sikap Karl Marx yang menyimpang terhadap kesadaran akan kelas tercermin dalam puisinya “The Fiddler”?”
Data utama dari studi ini diambil dari puisi berjudul "The Fiddler" dan data-data tambahan diambil dari buku referensi terkait, jurnal, artikel, dan sumber online. Dalam mencapai tujuan penelitian ini, penulis menggunakan pendekatan Marxisme. Teori-teori yang diterapkan antara lain teori sastra khususnya mengenai puisi, tinjauan teori arti harafiah, teori kesadaran akan kelas, teori biografi dan teori sosiologi.
Terdapat dua hasil temuan yang didapat dari studi ini. Temuan pertama adalah mengenai makna harafiah dari puisi yang menggambarkan seorang pemain musik biola yang terlibat percakapan dengan orang lain yang mengamati caranya bermain musik. Temuan kedua membahas tindakan Karl Marx yang menyimpang terhadap kesadaran akan kelas: puisi ini menggambarkan konflik pribadi Karl Marx terkait dengan protesnya terhadap kesadaran akan kelas. Dia memilih untuk tidak mengikuti kesadaran kelasnya dan membantu kaum proletar.
Studi ini disarankan bagi peneliti di masa mendatang untuk membahas aspek politik dari puisi “The Fiddler”. Untuk pendidikan, puisi ini disarankan sebagai bahan untuk mengajar matakuliah Puisi I bagi mahasiswa semester 6 program studi Pendidikan Bahasa Inggris, Universitas Sanata Dharma.
viii
ACKNOWLEDGEMENTS
It is a blessing for me and my family that I finally could finish my thesis.
Therefore, I would like to address my deepest gratitude to Jesus Christ for His
love, guidance, and blessing that comes to my life, especially in hard time on
finishing this thesis.
I address my grateful respect for Drs. Antonius Herujiyanto, M.A.,
Ph.D. my sponsor who has been willing to guide me finishing my thesis. I really
thank for his time, support, patience and energy in giving me feedback through the
process of writing this thesis. I also appreciate Drs. Y.B. Gunawan, M.A. for
giving me correction and improvement for my thesis.
My sincere love goes to my beloved parents Maria Goretti Yuniarti and
Vincentius Subari Prihartanto for their love, prayer and motivation so that I
could face all of those troubles in finishing my thesis. I also send my love for
Gloly for her pure love that motivates me a lot.
I would like to give my gratitude to Dwi Yulianto Nugroho, S.Pd. and
Susana Tri Cahyani, S.Pd. as my language consultants who are willing to check
and give correction for this thesis. I address my deepest thanks to all my friends:
Bre who always gives support, affection and help in doing this thesis; Popon,
Asti, Rara, Haya, Dei, Achie, Henink, Seto, Yusak, Asep, Wendy, Tommy and
Rian for being nice friends through the wonderful time studying in PBI; Manda,
Ayaz, Gabey and Lita for being my kind companions in struggling finishing this
thesis; Ipul, Kristin, Wangi, Tya and Inu for being my loyal friends in
ix
My sweet thanks go to Mushroom Squad, Keluarga Rumah Bambu
KKN Kopeng XLII and The Ringin’s Family Biennale Jogja XI for coloring
my life. And not to forget, Rolly for the moments I share with.
Last but not least, I would like to say thanks those whose name I cannot
mention one by one for their support and help. May Lord always be with us.
x
STATEMENT OF WORK’S ORIGINALITY ... iv
PERNYATAAN PERSETUJUAN PUBLIKASI ... v
CHAPTER II: REVIEW OF RELATED LITRATURE ... 7
2.1 Theory of Literature ... 7
2.1.2 Intrinsic Aspects of Poem ... 8
xi
2.2 Review of Literal Meaning Theory ... 14
2.3 Review of Music in 1837 ... 15
2.4 Biographical Theory ... 16
2.5 Sociological Theory ... 17
2.6 Theory of Class Consciousness ... 17
2.7 Marxist Literary Criticism ... 18
2.8 Context of The Poem ... 20
4.4 The Analysis of Literal Meaning ... 44
xii
CHAPTER V: CONCLUSIONS AND SUGGESTIONS ... 66
5.1 Conclusions ... 66
5.2 Suggestions ... 67
5.2.1 Suggestions for Future Researchers ... 67
5.2.2 Suggestions for English Teaching ... 68
REFERENCES ... 69
xiii
LIST OF APPENDICES
Appendix 1: Karl Marx’s Poem “The Fiddler” ... 74
Appendix 2: Pictures of Bourgeoisie and Proletariat ... 75
Appendix 3: Auto-Biography of Karl Marx ... 76
Appendix 4: References of Literal Meaning “The Fiddler” ... 79
Appendix 5: Syllabus of Poetry I ... 84
1 CHAPTER I
INTRODUCTION
This chapter points out four parts; Background of the Study, Objective of
the Study, Problem Formulation, Benefit of the Study and Definition of Term. The
first part, Background of the Study elaborates the reasons why the writer chooses
this topic to be discussed in this study. Next, Objective of the Study explains what
aspect that the writer wants to achieve. Third, Problem Formulation explicitly
states two major issues analyzed in this study. Then, the discussion on how
beneficial this study for the public is explained in the following part, namely
Benefit of the Study. The last part of this chapter is Definition of Term. It gives
clear definition of several terms so that misconception of terms could be avoided.
1.1 Background of the Study
Literature seems to be so unique for it is able to record life in the medium
of language. It is according to Frederick (1988), ―Literature is a vital record of what men have seen in life, what they have experience of it, what they have
thought and felt about those aspects of it which have the most enduring interest of
human beings‖ (p. 4). That reason then makes the writer interested in discussing literature in this study.
This study focuses on poetry. It is all due to the enjoyment and impression
of senses that it carries from the unusual words within it. As it is mentioned by
enjoyment. It carries practical use of language to bring us a sense and perception
of life, to widen and sharpen our contacts with existence‖ (p. 3-4). Moreover, poetry becomes a medium of language which says more than ordinary language
does.
In this study, Karl Marx‘s poem entitled ―The Fiddler‖ attracts the writer‘s
attention. Further, it triggers the writer to conduct a study on it. Marx‘s poem
―The Fiddler‖ pictures Marx‘s aberration on his class consciousness. Marx makes
his poem be more passionate to be read since he writes his poem in the form of
dialogue of two opposing personalities. It becomes reflection of Karl Marx who is
protesting against his class consciousness. The poem is served in emotional
dialogue so that the reader can get the passion. In details, this poem illustrates
Karl Marx‘s class consciousness as a bourgeoisie which puts him to be superior
towards proletariat. Nevertheless, Marx commits aberration to his class
consciousness by helping the proletariat and bringing them into classless society.
Furthermore, the writer also has another reason on choosing Karl Marx‘s
poem ―The Fiddler‖ as her subject of study. It is all due to the condition of world
today which is almost similar to the reality depicted in the poem. Nowadays, the
power takes control on most aspect of life, while the powerless becomes the
object of exploitation. There are only few of the power who puts concern on the
powerless. In this case, the writer proudly says that Karl Marx becomes one of the
few, in that period of time.
Although Marx was born as a bourgeoisie, it does not make him to be an
casualty of the bourgeoisie‘s rule. In his poem ―The Fiddler‖, Karl Marx does not
only tell his personal experience, but it also becomes his device to trigger the
readers, particularly critical thinkers, to contribute themselves for making
classless society.
1.2 Objective of the Study
The objective of this study is to explore Karl Marx‘s aberration on class consciousness as seen in his poem ―The Fiddler‖. The writer tries to explore any elements of the poem in details so that the possible image, dealing with Karl
Marx‘s aberration on class consciousness reflected in the poem, can be vividly
portrayed.
1.3 Problem Formulation
As the base of the following analysis, the writer has formulated two
problems. It directs the writer to investigate only particular scope of the study
analysis. The formulated problems are stated as follows:
1. What is the literal meaning of Karl Marx‘s poem ―The Fiddler‖?
2. How is Karl Marx‘s aberration on class consciousness reflected in his poem ―The Fiddler‖?
1.4 Benefit of the Study
It is expected that this paper will become one of the information sources
which could enrich reader‘s knowledge about literary phenomena within society
this topic may increase reader‘s motivation to get involve in caring others, especially the oppressed ones. Furthermore, the writer also expects that this paper
could guide students who have not been familiar with poetry, to get better
understanding about poetry, Karl Marx‘s poem in particular.
1.5 Definition of Terms
Here are several terms that may lead readers into misconception:
1.5.1 Aberration
According to Longman Dictionary of English Language and Culture,
Long (1992) defines aberration as a change of one‘s usual way of thinking or behaving. Furthermore, based on Mc Kean (2005) as stated in The Oxford
American Dictionary, aberration describes a person who believes and behaves in
unusual or unacceptable manner.
In this study, Karl Marx‘s aberration reflects unusual way of thinking and behaving of a bourgeoisie. Karl Marx is not behaving like any other bourgeoisie
since he protests against an awareness which has been set by his class, which is
called class consciousness. Karl Marx‘s protest against his class consciousness is pictured in his action of helping and fighting for the other class, the proletariat.
1.5.2 Class Consciousness
According to Fairchild (1975), class consciousness is defined as an
Generally, this awareness is followed with certain attitudes which may be feeling
of superiority or inferiority towards other class position (p. 42).
In this study, Karl Marx‘s class consciousness as a bourgeoisie puts him to be superior toward proletariat. It is all due to the power of bourgeoisie which
controls society at that time. Karl Marx who comes from bourgeoisie class may
carry arbitrary power toward the proletariat. Moreover, Karl Marx may exploit
them brutally in order to get advantage from them since he belongs to the power
class.
1.5.3 Literal Meaning
Based on The Cambridge Dictionary of Philosophy, Audi (1999) states ―literal meaning is the non-figurative, strict meaning an expression or sentences
have in language by virtue of the dictionary meaning of its words and the import
of its syntactic constructions‖ (p. 545). So as, in this study, literal meaning of this
poem ―The Fiddler‖, means as the virtue meaning of the poetic words within the
poem. The literal meaning of ―The Fiddler‖ portrays a music player, the fiddler, who gets in conversation with a person who is observing his performance.
1.5.4 The Fiddler
According to Zaret, ―The fiddle is a violin played as a folk instrument.‖ Furthermore, Zaret explains that the words ―violin‖ and ―fiddle‖ come from the
Latin root, but the difference is that "violin" came from romance languages; while
Peter Zaret & Sons Violins, that ―the goal of violin playing is beauty, power and mystery. For fiddling, the dominant esthetic is rhythmic energy and mystery. The
goal of fiddling is dance-ability.‖
In this study, literarily the words ―The Fiddler‖ refers to Karl Marx as the
player of bow string music instrument with the goal of playing for dance ability.
Further, if it is related with the latent meaning of the words, ―The Fiddler‖ refers
to a person who controls society with the goal to make bring happiness in the
7 CHAPTER II
REVIEW OF RELATED LITERATURE
This chapter provides review of related literature as the background
knowledge for this study. This chapter consists of elaboration of several theories
such as literary theory especially that of poetry, review of literal meaning theory,
theory of class consciousness, biographical theory, sociological theory. Besides,
some reviews also provided in this chapter, such as: review of music in 1837 and
context of the poem. Moreover, Marxism approach is also elaborated in this
chapter. At last, this chapter provides theoretical framework which illustrates the
contribution of each theories for this study.
2.1 Theory of Literature
This study will mostly talk about poem which becomes the branch of
literature. Therefore, in this chapter the writer would like to provide brief theory of
literature. Frederick (1998) defined literature as a record of life.
Literature is a vital record of what men have seen in life, what they have experience of it, what they have thought and felt about those aspects of it which have the most enduring interest of human beings. Literature is fundamentally an expression of life through the medium of language. Therefore since literature is expressed through language, one cannot understand it unless he understands the language and socio-cultural background from which it emerges (p. 4).
Furthermore, in language learning literature plays great roles to assist foreign
language well if he deals decisively with its cultural content‖ (p. 150). Moreover, the benefit of literature in language learning is elaborated further by Rivers (1980),
literature enriches student‘s understanding of foreign people by giving them sympathetic insight through the way of life, the way of thinking of the people who
speak the language that they learn. Moreover, it also enhances students‘ cultural knowledge through the study of literature (p.7).
To be more specific, literature which is examined in this study is centered on
poetry. Perrine (1969) states that poetry carries unique value in realizing life.
It has been regarded as something central to each man‘s existence, something having unique value to the fully realized life, something that he is better off for having and spiritually impoverished without. It carries practical use of language to bring us a sense and perception of life, to widen and sharpen our contacts with existence. Their concern is with experience (p. 3-4).
Furthermore, poem is very close with poet‘s life. According to Bourdette and Cohen (1983), all poems become poet‘s devices of transformation since the poet‘s experience, interests, and concerns; occasionally, becomes the subject of the poem (p.
152-153). In order to support it more, Bliss (1950) explains, ―poetry conceives poetic creation as a transformation of impression through vital contact with the poet‘s
personality and previous experience, into emotional loaded imaginative experience‖ (p. 396).
2.1.2Intrinsic Aspects of Poem
Poem pictures reality in words that the poet wrote. However, the meaning of
it. It is all according to Barnet, Bermon, and Bruto (1988), ―words have their literal meaning, but they also be used so that something other than literal meaning is
implied‖ (p. 768). In order to seek meaning, other than the literal one, the writer uses several devices as it is explained below:
2.1.2.1 Rhyme
In this study, the writer employs rhyme to see how consistent Marx in the
matter of poem‘s sound. According to Abrams and Harpham (2009) in their book A
Glossary of Literary Term, ―rhyme is repetition in the rhyming words, of the last stressed vowel and of all the speech sounds following the vowel‖ (p. 316). Therefore, the reader enjoys the decorative elements of the poem through the ending of each
line. This decorative elements is formed by the repetition of the last sounds.
Rhyme becomes the most powerful elements in the poem. There are several advantages that rhyme brings, according to Frederick (1988) ―rhyme can be a source
of inspirations, it pleases most readers because it is interesting and pleasing. Another
advantages of rhyme is its appeal to the reader‘s memory‖ (p. 59). Hence, by applying rhyme into the poem, the poet expects the readers to be pleased when they
read the poem. It is dealing with the enjoyment that the poem provides to the readers.
2.1.2.2 Meter
short) syllables in lines of a set length.‖ Furthermore, Kennedy and Giona (2002) add, in order to be aware of meter in a poem, reader must read it aloud and listen
to the poem. Then, scan the line by analyzing the stress and making sense of it.
The stressed syllables are the part where the poet put emphasis on (p. 202).
In details, there are some types of meters, one of them is accentual meter. It is
defined by Kennedy and Giona (2002), ―In accentual meter, the poet does not write in feet, as in other meter, but counts stressed syllable. The point of accentual meter is to
have the same number of stresses in every line‖ (p. 203). Then, Kennedy and Giona also make emphasis that old English poetry was written in accentual meter (2002,
p.203).
2.1.2.3 Simile
A poet may create two types of writing: literal and figurative. According to
Frederick (1988) in the book entitled English Poetry an Introduction to Indonesian
Language, ―literal statements mean exactly what they say; while, figurative statements, in contrast, always have different meaning from the literal one‖ (p. 36). Poets usually insert a figurative statement within their poem. Frederick (1988) adds,
Utterance becomes figurative when it contains at least one of the figures of speech.
The most familiar types of figures of speech is simile (p. 37).
using certain words: like, as, as though, as if, etc‖ (p. 22-23). Then, it is supported by Frederick (1988), a simile employs the words like, as, or to illustrate a resemblance
between two unlike object (p. 37).
2.1.2.4Personification
Personification is one of comparison devices. It is another form of metaphor.
Based on Frederick (1988), ―Personification is a figure that bestows human traits on anything non-human. In personification, an inanimate object is described as having
human attributes, powers or feelings‖ (p. 48). In personification, the inmate object is considered to be able to perform as what human does. It gives sense of living to the
object addressed by the personification.
In addition, it is defined by Harmon and Holman (2009), personification
represents imaginary creatures or things as having human personalities, intelligence
and emotions (p. 412). Accordingly, by the occurrence of personification within the
poem, the poet tries to presents the object in the poem to be livelier so that the reader
can grasp the description of the images more vivid. It is all important, due to the fact
that poem is mostly dealing with images described by the poet.
2.1.2.5Apostrophe
According to Reuben (2011), ―Apostrophe addresses someone absent or
something non human as if it was alive and present and could reply to what is being
addressing someone or something which is invisible or not commonly spoken to. In
an apostrophe, a poet may address on dead or absent person, an abstract person or a
spirit. The poet uses apostrophe to express a lofty and serious tone (p. 131).
Moreover, Harmon and Holman (2009), state that apostrophe is a figure of
speech in which some abstract quality or nonexistent object is directly addressed as if
it was present. It is described that apostrophe associated with deep emotional
expression (p.40). Thus, it can be seen that the existence of apostrophe within the
poem gives deeper emotional sense for the readers. In addition, it expresses more
serious tone since in certain case it addresses spirit, dead and absent person who are
not commonly spoken to.
2.1.2.6Tone
Brooks and Warren (1960), state ―the tone of a poem indicates the speaker‘s attitude toward his subject and toward his audience, and sometimes toward himself‖ (p. 181-182). Nevertheless, Kennedy and Giona (2002), give emphasis that the
readers may never know exactly what the poet feels. All the readers need to know is
how to feel when they read the poem. The tone is expressed in the choice of certain
words instead of others, the illustration of certain details (p. 21).
According to Harmon and Holman (2009) in their book A Handbook of
Literature, it is explained several kinds of tone such as formal, informal, intimate,
solemn, somber, playful, serious, ironic, condescending or many other possible
The one who knows exactly the intention attitude of the poem is the poet himself.
Nevertheless, the readers are still being able to enjoy the tone of the poem through the
sense of feeling that they possess.
2.1.2.7 Symbolism
Symbolism is well illustrated by Frederick (1988) in English Poetry an
Introduction to Indonesian Students, ―a sign that points to a meaning beyond itself. A literary symbol is a thing (an event, a person, a quality) that functions simultaneously
in two ways: as itself and as a sign of something outside itself‖ (p. 49-50). In order to provide vivid description of what symbolism is, the writer provides elaboration stated
by Perrine (1994) in his book Literature; Structure, Sound and Sense:
1. The meaning of literary symbol must be established and supported by the entire context of the story.
2. A symbol may have more than one meaning. This is not to say that it can mean anything we want it to. There is possible meaning that always controlled by the context.
3. To be called a symbol, an item must suggest a meaning different in kind from its literal meaning (p. 214-215).
The most important of it all, Frederick (1988) says, ―Reading poem is not solving problems or puzzles. Poets, moreover, do not hide the meaning behind
symbolism; instead, they use symbols to present their poems concretely‖ (p. 49).
Thus, the use of symbol within the poem may illuminate reader‘s mind of what the
poet intends to say. Symbolism gives concrete description of what the poem is all
2.2 Review of Literal Meaning Theory
In order to see literal meaning of a poem, the writer makes use of grammatical
rules, structure and it is completed by definitions from the dictionary. It is all
according to Barry (2009), literal meaning analyses the very roots of language and it
reflects grammar and sentence structure (p. 205). Moreover, literal meaning is defined
by Audi (1999), ―literal meaning is the non-figurative, strict meaning an expression or sentence has in language by virtue of the dictionary meaning of its words and the
import of its syntactic construction‖ (p. 545).
In details, some experts provide explanation on how significant textual
description in a text is. As it is suggested by Traugott and Pratt (1980), literal analysis
can give us a point of view, a basic way of looking a text that will help us develop a
consistent analysis. In addition, literal analysis can be the foundation for further
analysis, by recognize the systematic regularities in the language of a text (p. 20).
Nevertheless, there is some distinction between analyzing text and language.
Since texts are the primary data for all literary criticism, it is just needed to be
generalized. It is all due to the main goal of most literary criticism which points out
on seeing the deeper meaning of text. Based on Traugott and Pratt (1980),
―Generalization about text‘s semantic structure resembles those that constitute the
2.3Review of Music in 1837
Marx has his own view on seeing art. According to Kurniawan (2002), ―The thinking of Karl Marx can be concluded that art must serve the revolution
and the needs of the people. Art presents to revolt against the domination‖ (p. xvi). Classicism is the periods of the early 18th century to the late 18th century. According to Miller (1960), ―During classical periods, a new type of melody is
developed. It has an individual and compact character, and it is often folk-like in
its clarity and simplicity‖ (p. 114).
One of the folk music instruments is fiddle. Fiddle is another name of
violin. Both fiddle and violin is classified into a bow-string music instrument.
They have the same basic instrument. However, technique of playing fiddle and
violin is different, along with its purpose to the hearer. The most prominent
distinction is that fiddle is played in folk music, while violin is played in classical
music. Hence, the goal of playing each is also different. It is stated in websites
Peter Zaret & Sons Violins that ―the goal of violin playing is beauty, power and mystery. For fiddling, the dominant esthetic is rhythmic energy and mystery. The
goal of fiddling is dance-ability.‖ The etymological meaning of fiddle remains uncertain. However, it is explained by Tudorancea (2010), ―Fiddle is natively
Germanic. A native Germanic ancestor of fiddle may even be the ancestor of the
Discussing further in the physical characteristic of fiddle, the writer finds
that the fiddle is unique and rich of philosophical value. It is illustrated with the
strings of fiddle which has no frets or dividing part among the position of tone.
Unlike guitar, piano, flute, harmonica or any other musical melody instrument in
which the tone are vividly separated, fiddle similar with violin has no physical
separator. On the consequence, it is stated in the writing About the Violin, Belknap
(2011), ―the player must achieve the correct position from skill alone, or else the instrument will sound out of tune. Violin players practice long hours partly to train their fingers to land in the right places as it is played.‖
2.4 Biographical Theory
The most influencing aspect of work of art is its creator. Hence, explanations
of the personality and the life of the creator or author are so important. The
explanation of the creator is what usually called by biography. Biography is a
material to support systematic study of the poetic process. Biography can be taken
from series of public documentation, birth registers, the evidence of work, marriage
and so on (Wellek and Warren, 1956, p. 75-76).
According to Theory of Literature written by Wellek and Warren (1956),
―Only by a perversion of the biographical method could the most inmate and
frequently the most casual documents of an author‘s life become the central study while the actual poem were interpreted in the light of the document‖ (p.78).
and use of every work of art needs careful examination. It is all because the work of
art is not a document for biography (p. 78-79).
2.5 Sociological Theory
Literature represents life and life is in broad measure; in some case, a social
reality becomes objects of literary imitation. The connection of literature and society
becomes the analysis of works of literature as social document; then, it is considered
to be the pictures of social reality (Wellek and Warren, 1956, p. 94, 102).
It is informed by Wellek and Warren (1956), ―the author should express the
life of a given time completely. It becomes the representation of the author‘s age society. Therefore, the author should be aware of specific social situations‖ (p. 95).
Furthermore, one of literary approaches which employ sociological theory is
Marxism. Marxism does not only study the relations between literature and society,
but it also has concept of what these relations should be, both in present society and
in future classless society (p. 94-95).
2.6 Theory of Class Consciousness
According to Dictionary of Modern Sociology, Hoult (1974), ―class consciousness is special awareness, on the part of members of a given social stratum,
of their membership in the stratum and consequently of the interest and problems they
consciousness is elaborated in Changing the World: The relevance of Marxism in the
21st Century, Blunden (2006)
Marx was won to communism because he was convinced that capital was at the root of all the social problems of his time and only the proletariat, which hardly existed then, was capable of overcoming capitalism. The issue then was the question of the proletariat becoming a subject, a player on the historical stage. A class is not an employment or income category; a class is only really a class, a
class ‗for itself‘ when it is also a social movement, when it has a consciousness of
its mission and the organization to express that and bring it about.
Then, it is mentioned in History & Class Consciousness that class
consciousness of the proletariat is able to bring society from the impasse of
capitalism. According to Lukacs (1967), In order to limit the class consciousness of
the bourgeoisie, the capitalist production must be limited first. In this way, only the
consciousnesses of the proletariat can lead them get out from capitalism. The class
struggle must be maintained from the level of economic necessity to the level of
consciousness aim. Therefore, effective class consciousness can be raised.
2.7 Marxist Literary Criticism
According to the book Literary Criticism an Introduction to Theory and
Practice, it is explained about the flourish of Marxism. Bressler (1999), stated
―Marxist literary theory and criticism study the relationship between a text and the
society that reads it. At the core of all these diverse approaches is Karl Marx and his
Another expert also supports that theory. According to a Handbook of Critical
Approaches to Literature, fourth edition, Guerin (2011), The Marxism approach
focuses on seeing literature to be connected with social power, and thus the analysis
of the text is linked to larger social questions.
As it is mentioned in The Bedford Glossary of Critical and Literary Terms,
Murfin and Ray (1998), Marxism approach is an approach in which literary works are
viewed as the product of work. In this literary work, role of class ideology, and social
order are reflected within it. Marxism approach views texts as material products
which must be understood in broadly historical terms. In addition, according to the
book entitled Pramoedya Ananta Toer dan Sastra Realisme Sosialis Kurniawan
(2002), ―Marxist philosophy refuses to see the phenomenon in isolation. Because of that Marxist would not occur without involving the relationships with the state of
society‖ (p. 48).
Afterwards, Bressler (1999) in simple emphasizes the basic principle of
Marxism
The core principle of Marxist: reality itself can be defined and understood, society shapes our consciousness, social and economic conditions directly influence how and what we believe and value, and Marxism details a plan for changing the world from a place of bigotry, hatred, and conflict due to class struggle to a classless society where wealth, opportunity and education are accessible for all people (p. 211).
Bressler points out the strength of Marxism approach. It is mentioned by Bressler
workable framework for understanding our world. It enables us to understand how we
as individuals relate to and are affected by our society‖ (p. 220).
2.8 Context of the Poem
This section provides clear information which is dealing with Karl Marx‘s poem ―The Fiddler‖. It is divided into two parts, the first is biography of the poet
and the second part is review of socio-historical of the poem. In the first part,
biography of the poet explains who the poet is. It describes Karl Marx with detail
information of his life, his personality and his works. Next, the second part,
review of socio-historical of the poem gives vivid description about the situation
in which the poem was written.
2.8.1 Biography of the Poet
Karl Marx was born on May 5, 1818 in Trier, Rhenish Prussia, in present day
it is Germany. According to Cohen (2008), ―Karl Marx was the third child and eldest son of Heinrich Marx, a lawyer of local distinction and moderate wealth who was
appointed magistrate a year after formal in1817.‖ Secchi (2000) adds that Marx came
from a pretty-bourgeois family. Further, it is stated by Berlin (1963), ―In Karl, he had an unusual and difficult son; with sharp and lucid intelligence he combined a
stubborn and domineering temper, exceptional emotional restraint, and over all
Marx was born as a Jew which later on affects his personalities as a harsh and
aggressive boy. It is informed by Heilbroner (1963), ―The sense of living in a hostile and vulgar world, intensified perhaps by his latent dislike of the fact that he was born
a Jew, increased his natural harshness and aggressiveness‖ (p. 1, 3). Besides, Encyclopedia of World Biography informs that Marx goes on the spree like what the
bourgeoisie does by partying and drinking a lot. Moreover, he also piled up heavy
debts. Nevertheless, his nature of being a bourgeoisie ends when he started to concern
about politics. And so, Marx joined this group of radical (extreme in opinion)
thinkers wholeheartedly which subsequently triggers him on fighting for the proletariat. Accordingly, that action becomes denial on Marx‘s class consciousness.
Moreover, Flippo adds that because of his rebellious tendencies, Marx spent most of
his adult life in exile (1997).
In spite of it all, Heilbroner (1963) adds, ―Marx was a sensitive or tender hearted man, or concerned about feelings of those with whom he came into contact;
but mostly, he behaved with open suspicion or contempt to the majority of the men he
met‖ (p.3). Furthermore, Heilbroner (1963) gives explanation, ―Marx is one of the rare revolutionaries who were persecuted in their early life. Consequently, in spite of
his aggressiveness and his arrogance, it is a singularly unbroken, positive figure that
faces us during forty years of unceasing welfare‖ (p. 26-27).
Based on Cohen (2008), ―Marx was influenced chiefly by the history teacher.
But greater encouragement came from his father‘s interest which introduce young
Marx continued his study in Bonn University in Bonn, Germany. According to
Tenbrock (1968), ―He became the founder of a movement which has not only won the support of the proletariat of many nations but has continued to grow in
significance‖ (p. 181).
Marx‘s view was then known as Marxism which points out on bringing
classless society. In the book Communist Manifesto written by Karl Marx describes
his determination on bringing world into classless society. Tenbrock (1968) restates
Karl Marx‘s declaration, ―Let the ruling classes tremble before the communist
revolution. The workers have the whole world to win. Workers of the world, unite!‖ (p.184).
2.8.2 Review Socio-Historical of the Poem
In 1837, when Marx wrote his poem ―The Fiddler‖, Frederick William III was
being in Prussian throne. At that time, industrial revolution occurred in Prussia,
Germany. Industrialization persisted in Germany in the 18th Century gave great impact for the citizens. The life of the people was changed and classified into several
classes. According to Bendix and Lipset (1966), ―these classes are distinguished from each other by the difference of their respective positions in the economy. Therefore,
production is the basic determinant of social class (p. 7).
During the year, most of the citizens in Prussia belong to working class. It is
population which ended with the industrial workers in the majority‖ (p. 178-179). The ironic condition of the working class in the past is obviously described by Brians
(1998), Past society is divided into two great hostile groups, bourgeoisie and
proletariat. The bourgeoisie got the upper place with their heavenly ecstasies and
egoistical manner. The bourgeoisie commits shameless, direct and brutal exploitation
to the proletariat.
The gaps between bourgeoisie and proletariat were seen in every single part of life.
It is illustrated by Eidson (2011), ―Social class in Germany is not only a matter of training, employment, and income but also a style of life, self-understanding, and
self-display.‖ Moreover, it is stated in the website of German Hosiery Museum that the way people wore during that periods indicated what class they belong to, ―long,
loose garments were only worn as a sign of dignity and graveness by scholars, clergy,
judges and magistrates - ranks which stood up for continuity and preservation.‖
2.9 Theoretical Framework
Each theory provided in this chapter contributes on revealing Karl Marx‘s
aberration on class consciousness in his poem ―The Fiddler‖. Marxism approach is utilized as the major approach throughout this study. Other theories are also applied,
such as: literary theory especially that of poetry, review of literal meaning theory,
provided in order to dig out further about Karl Marx‘s aberration on class
consciousness depicted in the poem.
In this study, literal meaning theory especially that of poetry and review of
literal meaning theory are employed to answer the first problem formulation on
analyzing literal meaning of Karl Marx‘s poem ―The Fiddler‖. Theory of poetry is
used to analyze the technique of poem which subsequently supports the literal
meaning of the poem. Then, review of literal meaning theory guides the writer on
examining the literal meaning of the poem. This literal meaning is supported with the
definition of words taken from related dictionaries.
Next, the following theories such as: Marxist literary criticism, theory of class
consciousness, biographical theory and sociological theory are used to answer second
problem formulation. Marxist literary criticism becomes the basic guideline to
explore Karl Marx‘s aberration on class consciousness. It is used as the approach
throughout this study. This Marxism approach is supported with theory of class
consciousness since this study is dealing with social class. Moreover, biographical
theory, which is supported by biography of the poet, becomes one of the steps of
Marxism approach. In addition, sociological theory, which is supported by
socio-historical of the poem, takes a role as a part to complete Marxism approach. Thus,
this holistic Marxism approach which is strengthened by theory of class
consciousness, biographical theory and sociological theory becomes adequate
25
CHAPTER III
METHODOLOGY
This chapter provides the methods employed in this study aiming to achieve
the objective which is exploring Karl Marx‘s aberration on class consciousness as
seen in his poem ―The Fiddler‖. There are three sections presented in this chapter:
object of the study, approach of the study and method of the study.
3.1 Object of the Study
This study focused on literary work, poem in the specific. The primary data
was taken from Karl Marx‘s poems entitled ―The Fiddler‖. This poem was written in
Britain, 1837. The source of this poem was Marx and Engels, Collected Works, Vol.
1, International Publishers, 1975. Formerly, the language of this poem was in
German, but then it was translated by Alex Miller in consultation with Diana Miller
and Victor Schnittke.
―The Fiddler‖ became Marx‘s literary writing, portraying the poet‘s personal
experience in Berlin in 18th century. This poem was talking about Karl Marx‘s aberration on class consciousness. Then, the secondary data was taken from the books
of Karl Marx‘s biography. Furthermore, the writer used supporting theories
concerning literary theory focusing on poetry, review of literal meaning theory,
theories were used to help the writer get sufficient data to explore Karl Marx‘s aberration on class consciousness.
3.2Approach of the Study
The approach used in this study was Marxism approach. This approach
enabled the writer to analyze the poem through study relationship between the text
and state of society, broadly historical term, and larger social questions. Class
struggle of the society is what Marxism approach focused on. The writer decided to
use Marxism approach since it was the best approach for exploring Karl Marx‘s aberration on class consciousness. It is all according to Bressler (1999), ―With its concerns for the working classes, Marxism provides the most workable framework
for understanding our world. It enables us to understand how we as individuals relate
to and are affected by our society‖ (p. 220). Thus, it provoked the writer to employ Marxism approach throughout this study.
Moreover, Marxism approach played a great role in this study. Steps on
Marxism method were implemented in this study analysis. The modifications of the
methods were listed below, Barry (2009)
1. Make division between the overt (manifest or surface) and covert (latent or hidden) content of literary work and then relate the covert subject matter of the literary work to basic Marxist theme, such as class struggle or the progression of society through various historical struggle.
2. Marxist critic is to relate the context of a work to the social-class status of the author.
Marxism approach was such a holistic approach which cannot stand alone.
Thus, it must be supported by information dealing with context of the poem which
covered review of biography of the poet and socio historical background during 18th century in details. Besides, the writer also used other theories such as literary theory
focusing on poetry, review of literal meaning theory, theory of class consciousness,
biographical theory and sociological theory so that it enriches the analysis of this poem ―The Fiddler‖.
3.3 Method of the Study
This is a library study, the primary data was taken from the poem entitled
―The Fiddler‖ and the secondary data were taken from related reference books,
journals, articles, and online source. The procedure applied in this study guided the
writer to come into the answer of the problem formulations. Firstly, the writer began
with reading the poem more than once. Then, the writer listed several unfamiliar
words which might lead into misconception. Having done with it, the writer
continued to analyze intrinsic aspect of the poem. Afterwards, the writer started to
examine the literal meaning of the poem, by consulting the dictionary. Having
grasped the literal meaning of the poem, the writer went to the root of this study on exploring Karl Marx‘s aberration on his class consciousness as seen in his poem ―The
Fiddler‖. The writer conducted it by making relation between the literal meanings,
which becomes the foundation on the analysis, with biography of the poet, social
28 CHAPTER IV
ANALYSIS
This chapter becomes the core of this study for it deconstructs the object of
this research, that is poem of Karl Marx entitled ―The Fiddler‖. The deconstruction
alters The Fiddler‘s poetic words into reality. In order to do so, the writer applies
Marxism approach as a device to analyze the poem. Since Marxism is such a holistic
approach, it will be supported by other theories.
This chapter is divided into three main analyses. The first is about intrinsic
analysis of poem which covers the analysis of sound: rhyme and meter; the analysis
of figure of speech and the analysis of tone. The second analysis examines literal
meaning of the poem which becomes the foundation of the following analysis. Next,
the third analysis explores Karl Marx‘s aberration on class consciousness as reflected in the poem.
4.1 The Analysis of Sound
In this study, the analysis of ―The Fiddler‖ deals with two matters, which
cover on how the poem sounds and how the poem is written. The first analysis, which
is dealing with sound, discusses on several elements of sound which occurs in this
poem. In analyzing a poem, elements of sound is so important since a poem is also
dealing with recital. Hence, for analyzing the sound, the writer employs devices of
The first element that is rhyme, analyses on the repetition of the rhyming
words in the last part of each lines. Rhyme serves the readers on the sound patterns
that the poet uses to make source of inspiration. Then, the second element that is
meter, discusses on recognizing the stressed and unstressed syllable in each lines. In
meter, the stressed syllables indicate the parts in which the poet puts emphasis on.
Generally, both of those elements of sound play important role in showing the readers
on how decorative and meaningful of the poem when it is recited.
4.1.1 Rhyme
As it is sated by A Glossary of Literary Term, Abrams and Harpham (2009), ―rhyme is repetition in the rhyming words, of the last stressed vowel and of all the
speech sounds following the vowel‖ (p. 316). Thus, the writer examines the last stress vowel in each line. The pattern that appears in each stanza is indicating the rhyme of
the poem.
The analysis of rhyme in the poem ―The Fiddler‖ is elaborated as follows:
1st stanza
The Fiddler saws the strings, His light brown hair he tosses and flings,
He carries a sabre at his side, He wears a pleated habit wide.
According to the 1st stanza, it can be seen that the rhyme is: a-a-b-b. strings is pronounced as /strɪŋs/
side is pronounced as /saɪd/
wide is pronounced as /waɪd/
2nd stanza
"Fiddler, why that frantic sound? Why do you gaze so wildly round? Why leaps your blood, like the surging sea?
What drives your bow so desperately?"
Having examined the stanza above, it is seen that the rhyme is:a-a-b-b
sound is pronounced as /saʊnd/
round is pronounced as /raʊnd/
sea is pronounced as /si:/
desperately is pronounced as /’desp ərətlɪ/
3rd stanza
"Why do I fiddle? Or the wild waves roar? That they might pound the rocky shore,
That eye be blinded, that bosom swell,
That Soul‘s cry carry down to Hell."
The writer analyze that the rhyme of the stanza above is: a-a-b-b.
roar is pronounced as /rɔ:r/
shore is pronounced as /ʃɔ:r/
swell is pronounced as /swel/
Hell is pronounced as /hel/
4th stanza
To dazzle with waves of melody, To soar to the star-dance in the sky."
Having looked to the stanza above, the writer examines that the rhyming is
a-a-b-b.
heart is pronounced as /h ɔ:rt/
art is pronounced as / ɔ:rt/
melody is pronounced as /’mel ədɪ/
sky is pronounced as /skaɪ/
5th stanza
"How so! I plunge, plunge without fail My blood-black sabre into your soul. That art God neither wants nor wists,
It leaps to the brain from Hell‘s black mists.
It can be obviously noticed that the stanza above possesses irregular rhyming.
It is a-b-c-c.
fail is pronounced as /feɪl/
soul is pronounced as /soʊl/
wists is pronounced as /wɪsts/
mists is pronounced as /mɪsts/
Although 5th stanza is also composed of irregular rhyming, it is not clearly sound because the different endings persist in the beginning of the stanza, then
it is closed by same rhyming. The last two lines camouflage the irregularity ending in
Moreover, those different ending just carries effect on the decorative aspect in the
hearing sense of the reader.
6th stanza
"Till heart‘s bewitched, till senses reel: With Satan I have struck my deal. He chalks the signs, beats time for me,
I play the death march fast and free.
The writer observes that 6th stanza is well structured with the same rhyming. It pleases the ear with a-a-b-b rhyming.
reel is pronounced as /rɪəl/
deal is pronounced as /dɪəl/
me is pronounced as /m i:/
free is pronounced as /fr i:/
7th stanza
"I must play dark, I must play light, Till bowstrings break my heart outright."
This stanza is only consists of two lines with the same rhyming a-a.
light is pronounced as /laɪt/
outright is pronounced as /’a ʊtraɪt/
Actually, the 7th stanza contributes as the closing stanza. It is because the narrative line is ended in that stanza. Moreover, the following stanza, 8th stanza, is the repetition of the 1st stanza.
8th stanza
His light brown hair he tosses and flings. He carries a sabre at his side, He wears a pleated habit wide.
This stanza is the repetition of the 1st stanza with the same structure rhyming. This is the last stanza of this poem. Having analyzed rhyming pattern in the poem ―The Fiddler‖, the writer sees that Karl Marx uses consistent rhyming in his poem
―The Fiddler‖ which is a-a-b-b. In consequence as it is said by Frederick, those
rhyming please the hearer when they recite the poem for it is pleasing and interesting.
(1988: 59) However, in 5th stanza the writer sees an irregular rhyming occurs within the poem. It signifies that the rhyming is a-b-c-c. It only gives effects on the
decorative aspect of the poem.
4.1.2 Meter
Meter is dealing with the rising and falling of poem‘s sound. As it is stated by Kennedy and Giona (2002), in order to be aware of meter, readers must read it aloud
and listen to the poem. Then, they have to scan the line and analyze which syllable is
stressed. Thus, in analyzing the meter of ―The Fiddler‖, the writer reads the poem aloud. Then, the writer scans the stressed syllable and makes sense of it. Therefore,
the important parts of poem that the poet tries to emphasize on are reveal in this
discussion (p. 202). In this discussion, the writer based the analysis on accented
the stressed syllable in every line‖ (p. 203). Here is the analysis of meter in the poem
―The Fiddler‖. The stressed syllables are marked with /.
1st stanza / / /
The Fiddler saws the strings, (1) / / / / His light brown hair he tosses and flings. (2)
/ / / He carries a sabre at his side, (3) / / / /
He wears a pleated habit wide. (4)
Based on the analysis above, the writer sees that irregular accented meter
occurs in this stanza. This stanza has no same number of stressed syllables in each
line. However, 1st and 3rd lines have same number of stressed syllable which is three syllables. Then, 2nd and 4th lines have the same number of syllable which is four syllables. In the 1st line the stressed syllables are the words Fiddler, saws and strings. The stressed syllables in the 2nd line are light, hair, tosses and flings. Then, in the 3rd line are carries, sabre, side. And at the last line, the words wears, pleated, habit and
What drives your bow so desperately?" (8)
This stanza consists of regular accented meter. There are four stressed
syllables occur in each line. In 5th line, the poet tries to make emphasis on words: Fiddler, why, frantic and sound. Then, in 6th line, the words which are emphasized are why, gaze, wildly and round. Next, the words leaps, blood, surging and sea are
emphasized in 7th line. After next, the poets emphasizes on words drives, bow, desperately in the last line of this stanza.
3rd stanza / / / / "Why do I fiddle? Or the wild waves roar? (9)
/ / / /
That they might pound the rocky shore, (10) / / / /
That eye be blinded, that bosom swell, (11) / / / /
That Soul‘s cry carry down to Hell." (12)
Regular accented meter is then occurs again in this stanza. Each line consists
of four stressed syllables. In 9th line the poet puts stress on the words why, fiddle, wild and roar. In line 10, the words they, pound, rocky and shore are stressed.
Afterwards, the words eye, blinded, bosom and swell are emphasized in line 11. And
at the last line, the poet puts emphasis on the words Soul’s, cry, carry and Hell.
4th stanza / / / /
"Fiddler, with scorn you rend your heart. (13) / / / /
To dazzle with waves of melody, (15) / / / /
To soar to the star-dance in the sky." (16)
In this 4th stanza, irregular accented meter occurs here. All line consist of four stressed syllables, except 3rd line. In line 13, the poet puts emphasis on words Fiddler, scorn, rend and heart. Then in line 14, stressed syllables are placed in words
radiant, God, lent and art. Afterwards, the words dazzle, waves and melody are
stressed in line 15. At the end of this stanza, the poet emphasizes on words soar, star,
dance and sky.
5th stanza / / / / "How so! I plunge, plunge without fail (17) / / / /
My blood-black sabre into your soul. (18) / / / /
That art God neither wants nor wists, (19) / / / /
It leaps to the brain from Hell‘s black mists." (20)
This stanza consists of regular accented meter with four stressed syllables in
each line. In line 17, the poet points on words how, so, plunge and fail. Then in line
18, the words such as blood, black, sabre and soul are given stress. Next, in 19th line, the poet gives stress on words art, God, wants and wists. Further, line 20 consists of
four stressed syllable, which are leaps, brain, Hell’s and mists.
6th stanza / / / /
"Till heart‘s bewitched, till senses reel: (21) / / / /
/ / / /
He chalks the signs, beats time for me, (23) / / / /
I play the death march fast and free." (24)
Regular accented meter is indentified in this stanza. Four stressed syllables
occur in each line. In line 21, the poet points on the words heart’s, bewitched, senses
and reel. In line 22, the words Satan, I, struck and deal are stressed. Then, in line 23,
the poet emphasizes on words chalks, signs, beats and time. After that, stressed
syllables occur in words play, death, fast and free.
7th stanza / / / /
"I must play dark, I must play light, (25) / / / /
Till bowstrings break my heart outright." (26)
This stanza only consists of two lines and regular accented meter persists
there. In line 25 the poet points on the words play, dark, play and light. Then, in 26th line the emphasis are put on the words bowstrings, break, heart and outright.
The last stanza of this poem becomes the repetition of the first stanza. It has
exactly the same construction with the first stanza. Finally, having analyzed all of those stanzas, the writer sees metrical pattern does not fixedly occurs in poem ―The Fiddler‖. Moreover, rhyming sound also is not fixedly composed. Thus, poem ―The
Fiddler‖ is indicated to be free verse poem. It is all according to Maree Long (2006),
―free verse poem is composed of either rhymed or unrhymed lines that have no set
4.2 The Analysis of Figure of Speech
Figure of speech must occur in every poem. According to Kennedy and Giona
(2002), figure of speech is used for the sake for freshness and emphasis. It appears in
the form of unusual denotation (p. 119). In this discussion, figures of speech which
are employed are simile, personification and apostrophe. The detail analysis is
provided below:
1st stanza
The Fiddler saws the strings, (1) His light brown hair he tosses and flings. (2)
He carries a sabre at his side, (3) He wears a pleated habit wide. (4)
Having examined the stanza above, the writer sees that there is no simile,
personification and apostrophe which occur. The poet tells the stanza with descriptive
style by using ordinary language. The first stanza describes the appearance of the
fiddler.
2nd stanza
"Fiddler, why that frantic sound? (5) Why do you gaze so wildly round? (6) Why leaps your blood, like the surging sea? (7)
What drives your bow so desperately?" (8)
The writer detects that there is a simile persists in this stanza. Precisely, simile occurs in line 7 indicated with the word ―like‖. The word ―like‖ directs the reader to
conscious comparison which is called as simile (Murphy, 1972, p. 22-23). In this
case, the poet tries to compare the leaping of blood which is as wild as the surging
3rd stanza
"Why do I fiddle? Or the wild waves roar? (9) That they might pound the rocky shore, (10)
That eye be blinded, that bosom swell, (11) That Soul’s cry carry down to Hell." (12)
In 3rd stanza, there are two kinds of figures of speech which occur. They are personification and apostrophe. In line 9, personification gives attribute of human
being to the word waves. In this case, the word waves is assumed to be able to roar or
cry as in pain or grief like what human do. Further, apostrophe persists in line 12. In
this line, apostrophe addresses something non human which is ―soul‖ as if it is alive (Reuben, 2011). Apostrophe gives sense to soul that it could cry like human being.
4th stanza
"Fiddler, with scorn you rend your heart. (13) A radiant God lent you your art, (14) To dazzle with waves of melody, (15) To soar to the star-dance in the sky." (16)
The writer detects that apostrophe occurs in line 14 and personification occurs
in line 16. In line 14, apostrophe is attached in word ―God‖ which is so abstract. This apostrophe gives lofty tone for this line. Then, 16th line carries personification in word ―star‖ which is illustrated of being able to dance like human. This personification gives fresh effect for this line.
5th stanza
