FIGURE OF SPEECH AND IMAGERY ANALYSIS ON THE BEATLES AND SCORPIONS LYRICS:
Imagine, Give Peace a Chance, Wind of Change, Under the Same Sun
A Thesis
Submitted to Letters and Humanities Faculty in Partial Fulfillment of the Requirements for
the S 1 Degree
Syafrianto. SM NIM. 102024574574
ENGLISH LETTERS DEPARTMENT
LETTERS AND HUMANITIES FACULTY
STATE ISLAMIC UNIVERSITY
“SYARIF HIDAYATULLAH”
ABSTRACT
Syafrianto. SM, Figure of Speech and Imagery Analysis on the Beatles and Scorpions Lyrics: Imagine, Give Peace a Chance, Wind of Change, Under the Same Sun. Thesis. Jakarta: Strata Degree (S1), Letters and Humanities Faculty, State Islamic University “Syarif Hidayatullah” Jakarta, September 18, 2008.
The writer studied four lyrics as the object of research: Imagine, Give Peace a Chance, Wind of Change, Under the Same Sun. This research is focused on analyzing the figure of speech and imagery of the lyrics by using the descriptive qualitative method and structuralism approach. This research aimed to know the imagery and figures of speech in those lyrics and how they construct the concept of peace.
DECLARATION
I hereby declare that this submission in my own work and that, to the best of
my knowledge and belief, it contains no material previously published or written by
another person nor material which to a substantial extent has been accepted for the
award of any other degree or diploma of the university or other institute of higher
learning, except where due acknowledgement has been made in the text.
Jakarta, September 18, 2008
ACKNOWLEDGMENT
ﻢﺴﺑ
ا
ﷲ
ﻦﻤﺣﺮﻟا
ﻢﻴﺣﺮﻟا
In The Name of Allah, Most Gracious Most Merciful
All praises be to Allah the Lord of the world who gives His guidance in
completing this thesis. Peace and salutation be upon our prophet Muhammad, SAW,
and his family, friends and adherent.
First of all, the writer would like to express thanks you very much to his
beloved parent Syafei SN and Mariana HZ and all family mak Ejo H. Siti Sinoriah,
the oldest sister and brothers Ernawati and her husband Miswandi, Syafriadi and his
wife and Sumardi, S. Ag., who contributed their help and concern in the preparation
of this thesis. Throughout his life, they have been and still are ever ready to assist him
in his various endeavors – for which it’s truly grateful.
The warm regard goes to his nieces Gusmi wena Selti, Indri Angi Selti, Nayla
Zahratunnisa Syafren and nephews Fakhira Selti, Ahmad Sauqi Syafren and an
additional special thanks goes to XanGKurO for encouraging him to finish this thesis
immediately.
The writer wishes to express his great appreciation to his advisor Inayatul
Chusna, M. Hum., who has given him the assistances to make this thesis possible.
Then, the writer wishes to record his deep gratitude to the following people for their
1. Dr. Abdul. Chair, M.A., the Dean of Letters and Humanities Faculty State
Islamic University “Syarif Hidayatullah” Jakarta.
2. Dr. Muhammad Farkhan, M. Pd., the Head of English Letters Department
State Islamic University “Syarif Hidayatullah” Jakarta.
3. Drs. Asep Saefuddin, M. Pd, the Secretary of English Letters Department
State Islamic University “Syarif Hidayatullah” Jakarta
4. All lecturers in English Letters Department for having taught and educated
him during his study at English Letters Department State Islamic
University “Syarif Hidayatullah” Jakarta.
5. Dhuha Hadiansyah, S.S., for editing his thesis grammar.
6. All his friends who learnt together in English Letters Department State
Islamic University “Syarif Hidayatullah” Jakarta. Special to his class
mates (Djars, Abdurrosid, Abdul hakim, Agus Saefurrohman, Anton
Rustanto, Darojatin, Dindin, Fauziyah Imma, Galih, Ihsan Wahyudi,
Jamaluddin, k’Arie, Lia Octarina, Neng Titin, Neneng Mardiana,
Nurhayati, Meonk-Fiche, Masrofah, M.Iqbal, M.Zakky, M.Zaid Teh-Diah,
Titik Atika, Tuti Fauziyah, Putra Fajar, Rokani Darsyah, Saifi, Sandi
Adrian, Saimah, Yusmiarni, Vie and Med, Yanuar Arifin, Yaman Q-moy
and Gadis, Windi Astuti, Zakiyah Al-Mubarokah), Aceve, Ahmad Rifai,
Budi Prayogi, Chiko, Erlangga, Lia Amelia, Ode, Mudhofar, and the many
other friends are too numerous to name.
8. All members of Sanggar Altar, Teater Shahid, Cremona, Taman Suropati
Chamber and Siklus Situ.
9. Mbak-Uliel, Bang-Echo, Awie and Attics, Hayyu Citra Herdana and
Lung, Agung Lan She Lung for having lent him their computers.
10.Adun, A’Isol, Bang-Jimmy, eLy, de-Finny, Neneng Hasani, Nurlaela,
k’Eot, Miss.Siti, Mr.James, Dede Juhanda for having given him their
enthusiasm during accomplishing this thesis.
11.Mustika Dendy, Duile-Nyimas Saung Wati and Khozach-Zaky Mubarok
for helping and documenting his courses.
May Allah blesses them all and give them more then what they have given to
the writer. Hopefully, this this thesis gives benefits for all people who read it.
Jakarta, September 18, 2008
TABLE OF CONTENTS
ABSTRACT... i
APPROVAL SHEET... ii
LEGALIZATION... iii
DECLARATION... iv
ACKNOWLEDGMENT... v
TABLE OF CONTENT... vii
CHAPTER I INTRODUCTION... 1
A. Background of the Study... 1
B. Focus of the Study... 3
C. Research Question... 3
D. Significance of the Research... 4
E. The Methodology of Research... 4
1. The Purpose of Research... 4
2. The method of the research... 4
3. The Technique of Data Analysis... 4
4. The unit of data Analysis... 5
5. Time and place of the Research... 5
CHAPTER II THEORETICAL FRAMEWORK... 6
A. Concept of peace... 6
1. Introduction... 6
2. Some Concept of Peace Perspective... 8
a. Takeshi Ishida ... 8
b. Anatol Rapaport ... 9
c. Rudolph Rummel ... 10
d. Gunnar Johnson ... 11
B. Figure of Speech... 13
9. Hyperbole and Overstatement... 18
10.Allusion ... 19
C. Imagery ... 20
1. Visual Imagery... 21
2. Auditory Imagery... 21
3. Olfactory Imagery... 22
4. Gustatory Imagery... 23
5. Tactile Imagery... 23
6. Organic Imagery... 23
7. Kinesthetic Imagery... 24
D. Technique of Imagery Development... 24
1. Literal Imagery... 24
2. Figurative Imagery... 26
CHAPTER III ANALISIS OF LYRICS... 27
A. Data Description... 27
B. Analysis of Lyrics... 32
CHAPTER IV CONCLUSION AND SUGGESTION... 56
Conclusion... 56
BIBLIOGRAFHY... 60
APPENDIXS... 63
A. Vietnam War... 63
B. Cold War In Berlin... 65
C. The Beatles Biography... 67
CHAPTER I
INTRODUCTION
A. Background of the Study
According to the book A Pursuit of Poetry by Robert Hillyer, the poetry is
classified to three forms; epic, dramatic and lyric. Epic is understood as poetry with a
long sustained poem in one form of verse in the classics, dactylic hexameter in which
well known by blank verse dealing with a series of heroic events, and cantering
around a hero or heroes. Dramatic is a simple form of verse in which poetic drama is
cast. Lyric is the most widely inclusive of all, originally referred, as its name implies,
to a song-poem to be sung to the accompaniment of lyre. The pure lyric is still a
poem of musical intension that could appropriately be set to music.1
E. B. Reed also proposes the definition of lyric within the book A Grammar
Literary Criticism by Lawrence Sargent Hall, that “all songs, all poems following
classic lyric form; all short poems expressing the writers mood and feeling in rhythm
that suggest music were to be considered as lyrics.”2
Based on both definitions above, the writer can conclude that Imagine, Give
Peace a Chance, Wind of Change and Under the Same Sun could be considered as
lyrics because they are song poem which is sung and possesses the elements of poems
have.
1
Robert Hillyar, In Pursuit of Poetry (New York: Mc Crew-Hill Book Company, 1960), p. 116. 2
As a literary work, lyric is also used to deliver critics of the speakers. In the
causality contact, a literary work is influenced by experience of the speakers, and it is
seen as a reflection of social structure where the speakers produce their literary
works. According to Georg Lukacs, a literary work may have a role as reflection of
its society situation (Wiederspiegelung), which has form such as translation or copy
(Abbild) of social structure or imitation (Nachahmung) of it society.3 It could be
understood that all literary works including poetry (lyric) is not born from the empty
culture. By mean of that, all literary works are a reflection of social structure where
the speakers produce their literary works.
The explanation above is closely related to the lyrics that would be analyzed.
Imagine, Give Peace a Chance, Wind of Change, and Under the Same Sun are lyrics
that reflect the social condition, critics and hopes of the speakers to the social
condition. Through the literary language4 that is full of connotative meaning, the four
lyrics deliver the reflection of the social condition, critics and hopes of the speakers.
Categorized as poems, those lyrics consist of intrinsic elements that poems have such
3
Ignas Kleden, Sasrtra Indonesia dalam Enam Pertanyaan: Esai-esai Sastra dan Budaya (Jakarta: Grafitti, 2004), p. 9.
4
A literary language is a register (in linguistics, a register is a subset of a language used for a particular purpose or in a particular social setting) of a language that is used in literary writing. The difference between literary and non-literary vernacula forms is more marked in some languages than in others. Where there is a strong divergence, the language is said to exhibit diglossia. Anonymous, Literary Language. Accessed on October 09, 2007. http://en.wikipedia.org/wiki/Literary_language.
This statement could be supported by definition proposed by Herman J. Waluyo “…literary language in poetry has characteristic of connotative that’s many possibility of meaning like symbol and figurative of speech...” (Herman J. Waluyo, Teory dan Apresiasi Puisi (Jakarta: Erlangga, 1995), p. 28)
as figure of speech and imagery used by the speakers to achieve the goal of reflecting
the social condition, critics and hopes of the speaker that is the peace situation.
The analysis of these elements aimed to know what figure of speech and
imagery used in those lyrics and what concept of peace do the figure of speech and
imagery of those lyrics construct as the research finding of this thesis.
B. Focus of the Study
The writer focuses the research only in analyzing the imagery and figure of
speech and that used in the Beatles songs (Imagine, Give Peace a Chance) and
Scorpion song (Wind of Change, Under the Same Sun).
C. Research Question
Based on the background of the study above, the writer would like to discuss
the problems of the thesis on title “Figure of Speech and Imagery Analysis on the
Beatles and Scorpions Lyrics: Imagine, Give Peace a Chance, Wind of Change,
Under the Same Sun within two questions:
1. What are the imageries and figures of speech used in Beatles lyrics (Imagine,
Give Peace a Chance) and Scorpions lyrics (Wind of Change, Under the
Same Sun)?
2. What concept of peace do the figure of speech and imagery of those lyrics
D. Significance of the Research
The writer hopes that this research can be useful to the readers in getting
information and to be more acquainted with The Beatles and Scorpion especially for
those who want to analyze their lyrics.
E. The Methodology of the Research
1. The Purpose of Research
Regarding with the two questions above; the thesis has two purposes
of research:
a. To know the imagery and figures of speech at those lyrics.
b. To know how the imagery and figures of speech construct the concept
peace in the lyric.
2. The Method of the Research
The method that is used in this research is descriptive qualitative
analysis by using the structuralism approaches.
3. The Technique of Data Analysis
The writer analyzes the figures of speech and imagery of these lyrics,
explains, appreciates, and appraises them critically by using descriptive
qualitative analysis and structuralism approach to find the concept of peace
4. The Unit of Data Analysis
The units of data analysis in this research are Imagine; Give Peace a
Chance, Wind of Change and Under the Same Sun’s Lyrics.
5. Time and Place of the Research
This research is accomplished in semester thirteen. All the material are
taken from the libraries: Letters and Humanities library, State Islamic
University library, University of Indonesia library, British Council library and
the other libraries and internet to get more references and information related
CHAPTER II
THEORETICAL FRAMEWORK
A. Concept of Peace
1. Introduction
Peace has always been among humanity's highest values-for some Supremes.
Consider: “Peace at any price,” “The most disadvantageous peace is better than the
most just war,” “Peace is more important than all justice” 5 etc.
But, we have to know what peace is. Perhaps the most popular (Western) view
is as an absence of dissension or freedom from violence, war,6 a meaning found in the
Oxford Advanced Learner’s Dictionary.
Peace, however, is also seen as concord, or harmony and tranquillity. It is
viewed as peace of mind7 or serenity, especially in the east. It is defined as a state of
law or civil government, a state of justice or goodness, a balance or equilibrium of
powers.8
Jonathan Crowther, Oxford Advanced Learner’s Dictionary of Current English. (Oxford: Oxford University Press, 1995), International New Students’ Edition, p. 1112.
7
Peace of mind or Inner peace is a colloquialism that refers to a state of being mentally or spiritually at peace, with enough knowledge and understanding to keep oneself strong in the face of discord or stress. Being “at peace” is considered by many to be healthy (homeostasis) and the opposite of being stressed or anxious. Peace of mind is generally associated with bliss and happiness
Peace of mind, serenity, and calmness are descriptions of a disposition free from the effects of stress. In some cultures, inner peace is considered a state of consciousness or enlightenment that may be cultivated by various forms of training, such as prayer, meditation, T'ai Chi Ch'uan or yoga, for example. Many spiritual practices refer to this peace as an experience of knowing oneself. Anonymous, Peace of Mind. Accessed on October 5, 2007. http://en.wikipedia.org/wiki/ inner peace.
8
Such meanings of peace function at different levels. Peace may be opposed to
or an opposite of antagonistic conflict, violence, or war. It may refer to an internal
state (of mind or of nations) or to external relations, or it may be narrow in
conception, referring to specific relations in a particular situation (like a peace treaty),
or overarching, covering a whole society (as in a world peace). Peace may be a
dichotomy (it exists or it does not) or continuous, passive or active, empirical or
abstract, descriptive or normative, or positive or negative.
The problem is, of course, that peace derives its meaning and qualities within
a theory or framework. Christian, Hindu, or Buddhist will see peace differently, so
will pacifist, internationalist be. Socialist, fascist, and libertarian have different
perspectives, as do power or idealistic theorists of international relations. In this
diversity of meanings, peace includes the concepts such as justice, freedom, equality,
power, conflict, class, and, indeed, any other concept.
All above concepts are defined within a theory or cognitive framework what
have been called elsewhere a perspective.Through a perspective peace is endowed
with meaning by being linked to other concepts within a particular perception of
2. Some Concept of Peace’s Perspective
a) Takeshi Ishida9
Through an examination of the original meanings of peace in the worlds
main cultures (excluding Islam).10 The root of the word Islam in Arabic is
SALAMA which is the origin of the words peace or submission, a submission to
the God and peace to all humanity. It is, thus, the salutation in Islam is Al-Salamu
Alaikum or “peace on you.” In this regard, the prophet Mohammad ordered his
fellow Muslims to salute others Muslims or non-Muslims with peace when he
said “peace before speech.”
Takeshi Ishida examines the main emphasis of each word for peace in
order to help reduce the semantic differences that can create problems between
different cultures negotiating peace.
Ishida suggests an east - west dichotomy of peace concepts where the
eastern concepts see peace achieved through individual conformity to customs,
norms, etc. as an outcome of individual internal harmony. Western concepts see
peace more as a property of social systems functioning to assure prosperity.11
9
Takeshi Ishida was born in Tokyo in 1972; Takashi Ishida is a renowned Japanese artist/filmmaker. His works have shown extensively at Japanese museums, galleries and film festivals while also internationally, including a recent residency in the UK. In 2007, he received the prestigious "Most Promising Young Talent Prize" from the Fine Art Division of Goto Memorial Cultural Award. Since receiving the prize, Ishida has been based in Toronto, where he remains until the end of February 2009. Anonymous, Takeshi Ishida Trans. Accessed on November 15, 2008.
http://www.akimbo.biz/events/?id=13327&day=13&month=11&year=2008. 10
Anonymous, Concept of Peace in Islam. Accessed on October, 9 2007. http://saif_w.tripod.com/questions/violence/concept_of_peace_in_islam.htm.
11
Anonymous, Peace. Accessed on October 9, 2007.
b) Anatol Rapaport12
Starting from the view that war, especially nuclear war, is the greatest
threat to the survival of humanity, Anatol Rapaport examines international
co-operation aimed at “controlling” war. His conceptual scheme of peace images
includes peace through strength, balance of power, and collective security, peace
through law, revolutionary pacifism, and personal pacifism. His conceptual
scheme analyzes these images in relation to 1) the problem that is seen as
fundamentally important, 2) the conceptualization of a solution, 3) the
identification of actors expected to cope with the problem, 4) modalities of social
control or the mechanisms the actors are expected to use to implement the
solution to the problem. The aspects of Rapaport's conceptual scheme are, 5)
induced attitudes or psychological states which harmonize with the particular
peace image, such as fear and pugnacity in the peace through strength image, and
6) the roles of international cooperation envisaged in the particular image that will
help bring about peace or preserve it.
Interestingly Rapaport implies a range of peace concepts that are based on
threat, induced fear and no international cooperation at one end (peace through
strength), and based on integration, induced love and no international cooperation
at the other end (personal pacifism). In Rapaport's scheme, the conception of
peace as “peace through strength” perceives external threat, uses threat as a means
12
of control, and maintains an attitude of fear. While the conception of peace as
“personal pacifism” perceives the problem of human aggressiveness responded to
by individuals through self-perfection and an attitude of love.13
c) Rudolph Rummel14
Rudolph Rummel begins the concept of peace with the view that conflict
is ubiquitous and a necessary part of social. Rummel develops a definition of
peace as a social contract from social field theory. Conflict, in Rummel's view
does a number of important things; 1) it is the means for establishing and
adjusting social order, 2) similarly, it establishes the balance of powers between
what people want and what they can get and 3) through the resolution of conflict
agreements are reached. These agreements are implicit or explicit in the
resolution of conflict and constitute social contract. Thus Rummel's definition of
peace is closely related to those that define peace as conflict resolution or conflict
management.
Additionally, Rummel identifies seven underlying principles of these
concepts of peace. These principles identify peace concepts as a state of either; (a)
13
R.J. Rummel, What is Peace. Accessed on November 15, 2008. http://www.colorado.edu/conflict/full_text_search/PeacePapers/89-14.htm.
14
no conflict, violence or war, (b) order, (c) mind, (d) law, (e) (coercive) power, (f)
divinity or, (g) goodness. He attempts to group the concepts of peace under these
seven principles.15
d) Gunnar Johnson16
Johnson presents three major concepts of peace: 1) peace as a world
without war, 2) peace as world justice, and 3) peace as world order, abstracts
element of these concepts into theoretical categories:
1) The peace is not war category
The peace is not war category is concerned with disarmament,
control of or elimination of war, understanding the root causes of war, and the
control of or elimination of war-like to these ends most of peace research has
been dedicated. Johnson identifies three conceptual groups under this world
without war view of peace. First are those concerned with eliminating causes
of war. Second are those committed to finding non-violent ways of settling
conflict. And third, those who wish to remove the instruments of war and
mediate confrontations which might lead to war.
Johnson is clearly including under the peace is not war category such
concepts as 1) peace through no violence, 2) peace through conflict resolution,
and 3) peace through disarmament.
15
Anonymous, Concept of Peace. Accessed on November 15, 2008. http://www.colorado.edu/conflict/full_text_search/PeacePapers/89-14.htm.
16
Gunnar Johnson (July 3, 1889 – June 19, 1926) was a Swedish track and field athlete who competed in the 1912 Summer Olympics. In 1912 he finished eleventh in the hammer throw competition. Anonymous, Gunnar Johnson. Accessed on November 12, 2008.
2) The peace is social justice category
According to Johnson, The peace is social justice category contains
two other important themes, first the awareness of the presence of structural
violence or violence perpetrated by social system. And second, the preference
for research directed towards strategies of non-violent change. The peace as
social justice school has shifted focus from the causes of war to the conditions
of violence and peace. In doing so it has continued to define peace in terms of
violence and has added conflict theory to peace theory.
3) The peace as world order category
The peace as world order category attempts to address the problem
of human survival in the face of increasingly complex world problems such as
nuclear war, and ecological disaster.17
e) John Macquarrie18
Peace is viewed as a process of creating a more peaceful world, or of
manifesting the latent true nature of humanity, where that peaceful world or latent
nature is ideal states or goals. The actual attainment of the goal or the existence of
17
R.J. Rummel, What is Peace. Accessed on November 15, 2008. http://www.colorado.edu/conflict/full_text_search/PeacePapers/89-14.htm.
18
the goal is taken as a matter of faith, or of transcendent experience. However the
process of creation is seen as more immediately important. According to
Macquarrie, The problem of peace is one of fractures. The process of peace is one
of healing fractures.19 This worldview is the basis for the concept of peace as a
process and the definition of peace as healing fractures. Macquarrie illustrates the
importance of worldview in determining concepts of peace. A worldview that
does not have a basic orientation of fear leads to a concept of peace that is
integrative. Integrative in the sense that creation of peaceful relations and creation
of peaceful social structures are incorporated.20
The concept of peace that is proposed by some experts above will be used
to be referenced by some news concept of peace of the lyrics proposed that will
be analyzed in the chapter III.
B. Figures of Speech
1. Simile
According to Wren and Martin, simile is a comparison made between two
objects of different kinds which they have, however at least on point in common.
Generally, a simile refers to only one characteristic that two things have in
common, while a metaphor is not faintly limited in the number of resembles it
way indicate.21 Usually, the simile is signified by the words like: like, as, so,
19
“Healing fractures” in Macquarrie's term is nearly synonymous to “reducing separation.” 20
R.J. Rummel, What is Peace. Accessed on November 15, 2008. http://www.colorado.edu/conflict/full_text_search/PeacePapers/89-14.htm.
21
appear, seem, more then. Simile is seen at a poem A Red, Red Rose by Robert
Burns.
O my love, is like a red, red rose, That’s newly sprung in June
O my love is like the melodies That’s sweetly played in tune
On this poem, Robert Burns use the word like to represent his love that is
like a red, red rose and melodies that is sweetly played in tune.
2. Metaphor
According to Barnet, metaphor asserts the identity, without a connective
such as “like” or a verb such as “appears” of a term that are literally
incompatible.22 According to Perrine, metaphor is a figure of speech in which a
comparison is made between two things essentially unlike. In the other case Croft
defines that metaphor describes the subject being the thing to which it is
compared. In the piece of Robert Herrick’s poem below, he uses metaphor to
express his feeling to his sweetheart.
You are tulip seen today, But dearest, of so short a stay
There were you grew scarce man can say.
In the first line of this poem, Herrick images his sweetheart with a
beautiful and charming tulip, but unfortunately, the tulips does not have time to
stay along, which is proposed described through the line ...so short a stay.
22
3. Personification
Personification consists in giving the attributes of a human being to an
animal, an object, or a concept. It is a really subtype of metaphor, an implied
comparison in which the figurative term of the comparison is always a human
being.23 James Stephens use a personification in his poem The Wind. The poet
expresses the wind like human which has legs, fingers, and hands.
The wind stood up and gave a shout He whistled on his fingers and
Kicked the withered leaves about
And thumped the branched with his hand And said he’s kill and kill and kill And so he will and so he will
4. Apostrophe
Closely related personification is apostrophe which consists in addressing
someone absent or dead or something non human as if that person or thing were
present and a live and could reply to what is being said.24
The speaker (William Wordsworth) uses the apostrophe in the first line of
the following London poem “…Milton! Thon shoudst be living at this hour…” the
speaker addresses Milton, a well known English poet in 17th centuries that
changed Paradise Lost. The speaker addresses his name (Milton) hoped to come
when English was being attacked by the crisis of culture, because his present was
could be a treat the soul that was being crisis.
23
Perrine, op. cit., p.64. 24
5. Metonymy
In metonymy, the name of a thing is substituted for that of another closely
associated with it. John Oyer uses metonymy in Grongar Hill;
A little rule, a little sway, A sun beam on a winter’s day, Is all the pround a mighty have Between the cradle and the grave
We recognize that cradle signifies of birth, and grave signifies death.25
Synecdoche (the use of the part whole) and metonymy (the use of something
closely related for the thing actually meant) are a like in that both substitute some
significant detail or an experience for the experience it self.26
6. Symbol
Symbol is the visible object or action that suggests some furthers meaning
in addition to it.27 Perrine says that “a symbol may be roughly defined as
something that means more than what it is.”28 It is closely connected with
denotation and connotation meaning. Symbol is the part of poem’s structure that
could not be paid attention that is caused of its function in understanding the
poem meaning.
The words that we use in daily conversation have literal meaning or
usually denotative referred to object directly without referring to the other
manning. But, the word dog in this line “…some dirty dogs stole my wallet at the
25
X J. Kennedy, An Introduction to Poetry (New York: Pearson, Longman. 2005), p. 96. 26
Perrine, op. cit., p. 66. 27
Kennedy, op. cit., p. 232. 28
bus,” refers to the thief who steal his wallet. The phrase dirty dogs represent the
character of the thief who has the bad characteristic like dirty dogs.
The Road Not Taken by Robert Frost for instance, describes a choice made
between two roads by a person out walking in the woods. He would like to
explore both roads. He tells himself that he will explore one and then come back
and explore the other, but he knows that he will probably be unable to do so.
Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, log I stood And looked down one as far as I could To where it bent I the undergrowth;
The word road here represents the world that full of choice and we have to
be claver in choosing them.
Image, metaphor and symbol shade into each other and are sometimes
difficult to distinguish. In general, however, an image means only what it is; the
figurative term in metaphor means something other than what it is; and a symbol
means what it is and something more, too. A symbol, that is, functions, literally
and figuratively at the same time.29
7. Paradox
Paradox is a statement or sentiment that appears contradictory to common
sense yet is true in fact. The examples of paradox are “mobilization for peace”
and “a well-known secret agent.” According to Perrine, “a paradox is an apparent
contradiction that is nevertheless somehow true. It may be either a situation or a
29
statement.”30 The value of paradox is its shock value, for example: when
Alexander pope wrote that a literary critic of his time would “damn with faint
praise,” he was using a verbal paradox, for how can a man damn by praising? 31
8. Synecdoche
Synecdoche is a part use to designate the whole. It is closely related to
definition proposed in book An Introduction to Poetry, explains that “synecdoche
is the use of a part of a thing to stand for the whole of it or vice verse.”32 The
word mouth in line “He has many mouths to feed…” 33 constitutes a part of our
body whose function to eat, drink, etc. but, the mouth here represents many
people.
9. Hyperbole or Overstatement
Hyperbole or overstatement is a simply exaggeration, but exaggeration in
the service a truth. It is not the same as a fish story. If you say “I am starved!” or
“you could have knocked me over with a feather” or “I’ll be die if I don’t pas this
course!” you do not expect to be taken literally; you are merely adding emphasis
to what you really mean. (And if you say “there were literally millions of people
at the beach! You are merely piling one overstatement on top anther, for you
30
Ibid. p. 100. 31
Ibid. 32
Kennedy, op. cit., p. 96. 33
really mean, “there were figuratively millions of people at the beach,” or, literally,
“the beach was very crowded.”)34
10.Allusion
Allusion that is defined as “a reference to something in history or
previous literature is like a richly connotative word or a symbol, a means of
suggesting far more than it says.”35 The word Joshua in the context of
Chesterfield’s toast, calls up in the reader’s mind the whole biblical story of how
the Israelite captain stopped the sun and the moon in order that the Israelites
might finish a battle and conquer their enemies before nightfall. The force of the
toast lies in its extremes economy; it says so much in so little, it exercises the
mind of the reader to make the connection for himself.
The affect of Chesterfield’s allusion is chiefly humorous or witty, but
allusions also may have a powerful emotional effect. The essayist William Hazlitt
writes of addressing a fashionable audience about the lexicographer Samuel
Johnson, Speaking of Johnson’s great heart and of his charity to the unfortunate,
Hazlitt recounted how, finding a drunken prostitute lying in Fleet Street late at
night, Johnson carried her on his broad back to the address she managed to give
him. The audience, unable to face the picture of the famous dictionary-maker
doing such a thing, broke out in titters and expostulations, whereupon Hazlitt
simply said: “I remind you, ladies and gentleman, of the parable of the Good
Samaritan.” The audience was promptly silenced.
34
Allusions are a means of reinforcing the emotion or the ideas of one’s
own work with the emotion or ideas of another work or occasion. Because they
may compact so much meaning in so small a space, they are extremely useful to
the poet.36
C. Imagery
Imagery may be defined as the representation through language of sense
experience. Poetry appeals directly to our senses, of course, through its music and
rhythms, which we actually hear when it is read load. But, indirectly it appeals to
our senses through imagery; the representation to the imagination of sense
experience. The word image perhaps most often suggests a mental picture,
something seen in the mind’s eye – and visual imagery is the kind of imagery
occurs most frequently in poetry. But an image may also represent a sound
(auditory imagery); a smell (olfactory imagery); a taste (gustatory imagery);
touch, such as hardness, softness, wetness, or heat and cold (tactile imagery); an
internal sensation, such a hunger, thirsty, fatigue, or nausea (organic imagery); or
movement or tension in the muscles or joints (kinesthetic imagery).37 The
imageries could be grasped from the classification below:
36
Ibid. p. 120 et seqq. 37
1. Visual Imagery
Visual imagery evokes a picture of something that occurs most frequently
in poetry, sometime seen in the mind eye which called by sight effect,38 through
the poem of William Wordsworth Daffodils below seen the obvious described
about visual imagery.
Continuous as the stars that shine And twinkle on the Milky Way, They stretched in never-ending line
Along the margin of a bay: The thousand saw I at a glance
Tossing their heads in sprightly dance
Inside of our imagination appears the description or portrait about daffodil
flower that is growing stretched and never ending along the margin of a bay and
we can see the thousands of daffodil, what beautiful they are! It is tossing their
heads in sprightly dance.
2. Auditory Imagery
Auditory imagery represents a sound. In the poem bellow:
Hear the sledges with the bells - silver bells! What a world of merriment their melody foretells! How they tinkle, tinkle, tinkle,
In the icy air of night!
While the stars that over sprinkle All the heavens, seem to twinkle With a crystalline delight; Keeping time, time, time In a sort of runic rhyme,
To the tintinnabulation that so musically wells, From the bells, bells, bells,
Bells, bells, bells,
From the jingling and tinkling of the bells.
38
Poe calls up our imagination through the auditory effect. He invites us to
hear sledges39 with the bells, how they tinkle in the icy air of night, or we can hear
the jingling and tinkling of the bells.
3. Olfactory Imagery
Olfactory imagery calls up the sense of smell to the reader. We can grasp
the olfactory imagery through the lines of Robert Frost’s poem below:
The buzz-saw snarled and rattled in the yard
And made dust dropped stove-length sticks of wood, Sweet-scanted stuff when the breeze drew across it.
In the first line, he uses visual imagery to visualize the situation when the
buzz-saw snarled and rattled in the yard and the dust dropped stove-length sticks
of wood. The speaker uses olfactory imagery in third line of this poem
“…Sweet-scanted stuff when the breeze drew across it” to empress to the reader about the
smell when the buzz saw snarled and rattled in the yard and the dust dropped
stove length sticks of wood.
4. Gustatory Imagery
Gustatory imagery is the imagery represented a taste. The example of this
imagery could be grasped through the following quotation of Robert Frost’s poem
(Blueberries) “…the blueberries as big as your thumb...with the flavor of soot…”
he awakens our imagery by tasting blueberries with the flavor of soot.
39
5. Tactile Imagery
This imagery includes touch such as hardness, softness, wetness or heat
and cold. In the sonnet that is written by Shakespeare below, we can feel what
freezing has he felt when he is in far from his sweetheart. Shakespeare describes
the situation by using the lines such as bellow:
How like a winter hath my absence been From thee, the pleasure of the fleeting year! What freezing have I felt, what dark days seen! What old December’s bareness every where!
6. Organic imagery
Organic imagery is an internal sensation including the sensation like
hunger, thirsty, fatigue or nausea. This imagery could be grasped through the
following poem “Lord Randal”
“O where have ye been, Lord Randal, my son? O where have ye been, my handsome young man?”
“I here been to the wild wood; mother, make my bed soon, For I’m weary will hunting, and fain wald lies down”.
“Where gat ye your dinner, Lord Randal, my son? Where gat ye your dinner, my handsome young man?” “I dined will my true love; mother, make my bad soon, For I’m weary will hunting, and fain wald lie down.”
We can feel how weary Lord Randal is and how he wants to lie down!
We can feel it through the question asked by his mother to him such as in line
“…o where have ye been, Lord Randal, my son…” but the Lord Randal just say
“…I dined will my true love; mother, make my bad soon/ for I’m weary will
The imagery that is built by speaker calls our imagination up to feel as same as
the speaker.
7. Kinaesthetic Imagery
Kinaesthetic imagery conveys a sense of movement or tension in the
muscles or joints. We can study it in Ghost House’s poem “…the black bats
tumble and dart.” This poem impresses us about the sense of movement or
tension in the muscles or joints.
D. Technique of Imagery Development
Imagery does not appear just like that. A poet needs to take on several
steps to build imagery in his mind:
1. Literal Imagery
The literal imagery is a mental impression that is created by direct
description. The poet uses literal imagery when he makes word choices that are
very direct, concrete and specific. He invites the reader to imagine something
clearly and distinctly. Siswantoro says: meski sifatnya deskriptif, seorang penyair
tidak akan mengumbar kata berpanjang lebar, sebab ia sadar bahwa bahasa
puisi terkait oleh persyaratan seperti: padat dan singkat.40 Harmon and Holman
says”…a literal image being one that involves no necessary change or extension
in the obvious meaning of the words, one in which the words call up a sensory
40
representation of the literal object or sensation…”41 it means the poet only
chooses the simple and compact words in poem, and it must bring the reader to
participate in imagery that is developed by poet.
For example, the writer will give several lines from “Winter” by William
Shakespeare, which contain the visual imagery that is developed by literal
imagery technique: When icicles hang by the wall
And Dick the shepherd blows his nail And Tom bears logs into the hall And milk comes frozen home in pail, When blood is nipped and ways be foul, Then nightly sings the staring owl, “Tu-whit, tu-who!”
In these lines, the poet uses common sentences in order to describe the
winter. However, these ordinary sentences can produce the imagery that makes
the reader feels the winter in the sixteenth century. Imagine that the reader will
see icicles, a pointed piece of ice that is form when water freezes as it falls down
from something such as a roof that hang by the wall. In this poem, he uses literal
imagery technique by using ordinary sentence and simple word in order to
develop the visual imagery. Although the poet only uses ordinary sentences and
simple words, the reader will be able to catch the visual imagery, which is
developed by poet in the poem. Like in these lines, the reader will catch the visual
imagery from the ordinary sentences that is created by the poet.
41
2. Figurative Imagery
The other way to develop the imagery is using figurative imagery.
This common technique uses figure of speech in developing imagery. Harmon
and Holman say “…and a figurative image being one that involves a “turn” on
the literal meaning of the words.”42 So many poet uses figure speech to enrich the
sense of imagery to make a reader’s imagination and give reader full participate in
interpreting the content of poem.
The writer can say that the poet often uses figurative language in
developing image in reader’s mind in their poems. For example, the writer also
gives several lines from “A red, red rose” by Robert Burns, which contains the
visual imagery that is developed by using figurative imagery technique:
O my luve, is like a red, red rose, That’s newly sprung in June. O my luve is like the melodie That’s sweetly played in tune.
These four lines contain the visual imagery; in this case, poet develops the
visual imagery by using figurative language. In these lines, the poet develops the
visual imagery by using simile; he puts a connective like as an indicator of simile
in it. He makes a comparison between his lovely with a rose. The reader can feel
how deep the speaker’s love to his sweetheart. The reader will imagine how his
love like a red rose that is newly sprung in June. And the love likes the melody
that is sweetly played in tune. The writer can conclude that the visual imagery in
these lines is developed by figure imagery by using simile in developing it.
42
CHAPTER III
THE ANALYSIS OF LYRICS
A. Data Description
To support the analysis of this research, the writer uses the following data
description containing detail imagery and figure of speech found in the lyrics.
1. Imagine (John Winston Lennon/ The Beatles)
Imagine there’s no heaven 1
It’s easy if you try Nowhere below us Above only sky
Imagine all the people 5
Living for today
Imagine there’s no country It isn’t hard to do
Nothing to kill or die for
And no religion too 10
Imagine all the people Living life in peace…
You may say I’m a dreamer But I’m not the only one
I hope someday you’ll join us 15
And the world will be as one
Imagine no possessions I wonder if you can
No need for greed or hunger
A brother of man 20
Imagine all the people Sharing all the world.
You may say I’m a dreamer But I’m not the only one
I hope someday you’ll join us 25
Table 1 Imagery of Imagine
No Imagery Corpus Lines
1 Visual Imagery Imagine there’s no heaven… 1
…imagine there’s no country it isn’t hard to do nothing to kill or die for and no religion too…
7-11
Table 2
Figure of Speech of Imagine
No Figure of Speech Corpus Lines
1 Symbol Imagine there’s no heaven… 1
Imagine there’s no country, 7 …and no religion too. 11 ... if you can no need for greed or hunger… 18
2 Paradox Imagine there’s no heaven… 1
…Imagine there’s no country… 7 …and no religion too… 11
2. Give Peace a Chance (John Winston Lennon/ The Beatles)
Ev'rybody's talking about 1
Bagism, Shagism, Dragism, Madism, Ragism, Tagism This-ism, that-ism
Isn't it the most
All we are saying is give peace a chance 5
All we are saying is give peace chance
Everybody’s talking about
Ministers, Sinister, Banisters and canisters, Bishops and Fishops and Rabbis and Pop eyes,
And bye bye, bye byes. 10
All we are saying is give peace a chance All we are saying is give peace a chance
Let me tell you now Everybody’s talking about
Revolution, Evolution, Mastication, Flagellation, Regulations. 15 Integrations, Meditations, United Nations, Congratulations
All we are saying is give peace a chance All we are saying is give peace a chance
Oh Let's stick to it
Everybody’s talking about 20
Tommy smothers, Bob Dylan,
Tommy Cooper, Derek Taylor, Norman Mailer, Alan Ginsberg, Hare Krishna,Hare Krishna
All we are saying is give peace a chance 25
All we are saying is give peace a chance
Table 3
Figure of Speech of Give peace a Chance
No Figure of Speech Corpus Lines
1 Synecdoche Ev'rybody's talking about bagism, shagism,
dragism, madism, ragism, tagism…
1-2
…ministers, sinister, banisters and canisters, bishops and fishops…
2 Symbol Ev'rybody's talking about bagism, shagism,
dragism, madism, ragism, tagism this-ism, that-ism isn't it the most…
1-2
3 Allusion ..Everybody’s talking about John and Yoko,
Jimmy Leary, Rosemary, Tommy smothers, Bob Dylan, Tommy Cooper, Derek Taylor, Norman Mailer, Alan Ginsberg…
20-24
3. Wind of Change (Klaus Meine/ Scorpions)
I follow the Moskva 1
Down to Gorky Park
Listening to the wind of change An August summer night
Soldiers passing by 5
Listening to the wind of change
The world closing in Did you ever think
That we could be so close, like brothers
The future's in the air 10
I can feel it everywhere
Blowing with the wind of change
Chorus:
Take me to the magic of the moment On a glory night
Where the children of tomorrow dream away 15
Walking down the street Distant memories
Are buried in the past forever
I fallow the Moskva 20
Down to Gorky Park
Listening to the wind of change
Take me to the magic of the moment On a glory night
Where the children of tomorrow share their dreams 25
With you and me
The wind of change blows straight Into the face of time
Imagery of Wind of Change
No Imagery Corpus Lines
1 Visual Imagery “…The world closing in did you ever think that we could be so close, like brothers.”
8-9
Table 5
Figure of Speech of Wind of Change
No Figure of Speech Corpus Lines
1 Simile …the world closing in did you ever think that
we could be so close, like brother…
7-9
2 Personification …storm wind that will ring the freedom bell for peace of mind
29-30
3 Apostrophe “…listening to the wind of change…” 6
4 Symbol “let your balalaika sing” and “what my guitar
wants to say”
31-32
5 Allusion “I follow the Moskva
down to Gorky Park Listening to the wind of change…”
1-3
4. Under the Same Sun(Klaus Meine/ Scorpions)
I saw the morning 1
It was shattered by a gun
Heard a scream, saw him fall, no one cried I saw a mother
She was praying for her son 5
Do you ever ask yourself Is there a heaven in the sky Why cant we get it right
cause we all live under the same sun 10
We all walk under the same moon Then why, why cant we live as one
I saw the evening
Fading shadows one by one
We watch the lamb, lay down to the sacrifice 15
I saw the children The children of the sun
How they wept, how they bled, how they died
Do you ever ask yourself
Is there a heaven in the sky 20
Why cant we stop the fight
cause we all live under the same sun We all walk under the same moon Then why, why cant we live as one
Sometimes I think I’m going mad 25
Were loosing all we had and no one seems to care But in my heart it doesn’t change
We’ve got to rearrange and bring our world some love
And does it really matter
If there’s a heaven up above 30
We sure could use some love
cause we all live under the same sun We all walk under the same moon Then why, why cant we live as one
cause we all live under the same sky 35
We all look up at the same stars
Table 6
Imagery of Under the Same Sun
No Imagery Corpus Lines
1 Visual Imagery I saw the morning…
It was shattered by a gun Heard a scream, saw him fall, no one cried
1-3
I saw the evening fading shadow one by one We watch the lamb, lay down to the sacrifice I saw the children the children of the sun how they wept, how they bled, how they died
13-18
2 Auditory Imagery …It was shattered by a gun Heard a scream, saw him fall, no one cried
2-3
…how they wept, how they bled, how they died 18
Table 7
Figure of Speech of Under the Same Sun
No Imagery Corpus Lines
1 Hyperbola …sometimes I think I’m going mad were
loosing all we had and no one seems to care…
25-26
2 Paradox … is there a heaven in the sky why cant we get
it right…/ ...why cant we stop the fight..
8-9
3 Allusion cause we all live under the same sun we all
walk under the same moon then why, why cant we live as one
10-12
I saw the morning… 1
…I saw a mother
She was praying for her son…
5
..I saw the evening
fading shadows one by one we watch the lamb, lay down to the sacrifice…
13-15
Imagine is a super hits song that is written by John Winton Lennon in
1960. He is well known as a singer and musician who is also considered as the
Trotsky who utter the collective meaning that is together with his band “The
Beatles” guides the number of world’s musicians which give the big contribution
to the world reconciliation.
Imagine is a lyric, as a reaction against the Vietnam War, a bite and
lengthy conflict on the east coast of the Indochinese Peninsula for 18 years (1957
- 1975),43 which is well known as the second Indochina War.
The speaker uses the words such as heaven, country, possession and
religion within his lyric to symbolize the stumbling block for the people living in
peace life. The meaning of the words considered as the stumbling block will be
analyzed in Imagine symbol analysis.
b) Imagery Analysis
Regarding with the theoretical framework of how to build imagery – using
the description suggested as an object like view, idea and etc. or using the words
or the simple expression including in figure of speech – indicates that Imagine has
imagery inside which is developed from figure of speech used by the speaker.
Such was the case analyzed in further paradox analysis below could be
grasped that the following lyric “imagine there’s no heaven/ …imagine there’s no
country/ ...there’s no country it isn’t hard to do/ nothing to kill or die for/ and no
religion too…” describes the refusal or critic of the speaker to the previous
situation and all at one is a description of his daydreaming about the ideal world
suggested as visual imagery.
43
c). Figure of Speech Analysis
1) Symbol
Symbol is the visible object or action that suggests some further
meanings. The definition of symbol proposed in chapter II of this thesis is
manifested within the statement “a symbol may be defined as something that
means more than what it is.”44
The words such as heaven, country, religion, and greed in line 19 of
this lyric symbolize a few causes of dissension considered as the stumbling
block for all people living in peace. The words heaven is a place believed to
be the home of god and good people, and it also symbolizes a place or state
very quiet happiness where everybody competes to reach it. War is a kind of
symbol, which describing that competition.
Both religion and country symbolize the powerful doctrine of human.
While, the word greed that is translated in language (an excessive desire for
food, especially when one is not hungry or an excessive desire for wealth,
power, etc. for oneself, without consideration for the needs of other people)45
symbolizes the bad characteristic of human who is suggested has
consequences poor in quality or not good to the human life.
44
Siswantoro, op. cit., p. 43. 45
Beyond the cause of the Vietnam War, the word heaven, country, and
religion are some of the essential kinds that cause the dissension of war.
From this lyric, “imagine there’s no heaven/ …imagine there’s no country/
...there’s no country it isn’t hard to do/ nothing to kill or die for/ and no
religion too…” the writer sees how the speaker understands and offers the
ideal world symbolizing the oneness and unity of a country related to intimacy
among people.
2) Paradox
The paradox that defined as “an apparent contradiction that is
nevertheless somehow true that may be either a situation or a statement”
emerges in some lines of this lyric such as “Imagine there’s no heaven/
Imagine there’s no country/ …and no religion too.” The speaker emerges
some realities that are exactly believed by almost of people in this world such
as the existence of the heaven, religion, country. But, the impossibility of that
statement exactly possesses the rightness.
Such was the case analyzed in the symbol analysis above, that the
words such as heaven, country, and religion are suggested as stumbling block
for all people living in peace. The word heaven is a place believed to be the
home of god and good people, and it also symbolizes a place or state very
quiet happiness but no one could live peace in the earth because of the
antagonism, referring to the war.
a) Explication
This Give Peace a Chance lyric was recorded in Queen Elizabeth Hotel
room in May, 1967 attended by some guests such as Timothy Leary, Tommy
Smothers, Petula Clark and journalists, which is also conformity with the Bed In
action launched by John Winston Lennon and his wife Yoko Ono as a protest to
the Vietnam War.
The Beatles…after the break up or blak-blakan The Beatles…after the
break up published by PT Gramedia explicates that the Bad In action is a
reconciliation advertisement meant as the contrary of war advertisement used to
published in newspapers at that time. A translation work by Pandu Ganesa,
Lennon said:
Inti peristiwa Bed In secara singkat adalah iklan perdamaian, sebagai kebalikan dari iklan perang, yang diberitakan di surat-surat kabar setiap hari pada waktu itu… Bed In diadakan selama tujuh hari mereka boleh menanyakan apa saja_tak dtutup-tutupi, tak ada batas waktu sampai kau memperoleh semua yang kau ingin ketahui tentang John and Yoko.
John desember 1980.46
Overall, this lyric describes the human character, preference and human
life style, ideology, etc. But, they constantly pretend to utter the peace described
in refrain of this lyric “all we are saying is give peace chance.”
b) Figure of speech Analysis
1) Synecdoche
46
Synecdoche that is defined as “a part is used to designate the whole”
emerges in the first, second and third stanzas of this lyric. The words such as
shaggy, drag, mad, rag, and tag could be suggested as a particular philosophy
or set of principles, or an individual preoccupation or way of life after added
by suffix ism47 in the end of the words such as shagism, dragism, madism,
ragism, tagism.
While the words that surfacing in the second stanza are the words or
terms related to the religion manifests or designates the whole of human belief
such as ministers (refer to a Christian Churches or priest),48 sinister
(suggesting an evil, or that something bad may happen),49 banisters (the posts
and rail that are fixed at the side of a staircase),50 canisters (a use metal
container for holding tea, or coffee, etc. or a small container filled with shot or
gas),51 bishops (a senior priest in charge of the work of the Church in a city or
district),52 fishops and rabbis (a Jewish religious leader or teacher on Jewish
law).53
The words in the third stanza where the speaker writes the line such as
“…everybody’s talking about revolution,54 evolution,55 mastication,56
47
This suffix is used very freely in modern English to form nouns which embody a particular philosophy or set of principles, or an individual preoccupation or way of life. Pam Peters, The Cambridge Guide to English Usage (Cambridge: Cambridge University Press, 2004), p. 294.
48
flagellation,57 regulations,58 integrations,59 meditations,60 united nations…”61
in which all of the words related to the political terms that symbolize the
preferences of human.
After grasping all of the words, the writer concludes that the words in
first, second and third stanza of this lyric describe the human philosophy or
way of life as the various description of human.
2) Symbol
In the first stanza of this lyric, the writer finds some word ended with
suffix ism such as bagism, shagism, dragism, madism, ragism, tagism
this-ism, that-ism. This suffix is used very freely in modern English to form nouns
which embody a particular philosophy or set of principles, or an individual
preoccupation or way of life.
The word bagism is the place for fans of John Lennon and The Beatles
to come together and learn, educate, and have fun. It is an interactive site
meaning that you will have to be an active participant rather than just being a
55
Evolution (the gradual devolvement of the characteristics of plants animals over many generations, especially the development of more complicated forms from earlier, simpler forms or the process of gradual movement). Ibid. p. 397.
56
Mastication (masticate to chew foot). Ibid. p.721. 57
Flagellations (flagellate to whip somebody or oneself as a religions punishment or for sexual pleasure). Ibid. p. 443.
58
Regulations (a rule or restriction made by an authority or the action or process of regulating something, control). Ibid. p. 983.
59
Integrations (integrate to combine two things in such a way that one becomes fully a part of the other/ to become or make somebody. become fully a member of a community). Ibid. p. 620.
60
Meditations (the action or practice of meditating (meditate) to think deeply, use in silence, especially for religious purpose or n other to relax/ to plan something. In one’s mind; to consider doing something). Ibid. p. 728.
61
passive observer. The underlying concept of John and Yoko's bagism idea is
interactivity among people without prejudice.62 In other words, it symbolizes
the intimacy among people.
Even as the words shagism,63 dragism,64 madism,65 ragism,66 and
tagism67 symbolize the life style of musician in 1960s, where the group of
rock music emerges with shaggy style, jeans, and pro drugs and lyric which
have love themes as a protest to the Vietnam War.
The word bagism, shagism, dragism, madism, ragism, tagism embody
a particular philosophy or set of principles or an individual preoccupation or
way of life that refer to 1960s decade.
3) Allusion
The speaker uses allusion defined as “a reference to something in
history or previous literature is like richly constitutive word or symbol, a
means of suggesting for more then it says to build the meaning far more what
its says” in the last of stanza of this lyric.
62
Anonymous, Bagism. Accessed on December 28, 2007. http://www.bagism.com/. 63
(Of hair, fur, etc.) Long, thick and untidy/ covered with long thick untidy hair, fur, etc.), retrieved from: Jonathan Crowther (1995), op cit. p. 1079.
64
(an of breathing in smoke from a cigarette, etc.),retrieved from: Ibid. p. 350. 65
(Mental ill/ very polish, crazy/ very interested in or enthusiastic about somebody/ something/ very exited, wild). Ibid. p.705.
66
(A piece of old, often torn, cloth used especially for cleaning things/ (piece ragtime music is a music played especially. on piano that originated in the USA in the 1890s and developed into jazz). Ibid. p. 958-959.
67
The row of the names above is related to the icon of 1960s except
Here Krishna.68 But, the writer can conclude that they are the people who give
contribution such as thought, information, opportunity to produce works of
art, entertain etc.
Some rows of the people who give contribution are written by Lennon
within the line “…John and Yoko, Timmy Leary, Rosemary, Tommy smothers,
Bob Dylan, Tommy Cooper, Derek Taylor, Norman Mailer, Allan Ginsberg,
Hare...” They are the famous icons of 1960s, such as Lennon, an English rock
musician, singer and songwriter, who gained worldwide fame as one of the
founders of The Beatles,69 and his wife Yoko.
Timmy Leary whose full name Timothy Francis Leary (October 22,
1920 – May 31, 1996) was an American writer, psychologist, modern pioneer
and advocate of psychedelic drug research and use, and one of the first people
whose reaming have been sent into space. An icon of 1960s counterculture,
Leary is most famous as a proponent of the therapeutic and spiritual benefits
of LSD.70
68
The Hare Krishna mantra, also referred to reverentially as the Maha Mantra ("Great Mantra"), is a sixteen-word Vaishnava mantra made well known outside of India by the International Society for Krishna Consciousness (commonly known as 'the Hare Krishnas'). It appears within many traditions of Hinduism and is believed by practitioners to bring about a higher state of consciousness when heard, spoken, meditated upon, or sung out loud. According to Gaudiya Vaishnava theology, this higher consciousness ultimately takes the form of pure love of God (Krishna). Retrieved from: Anonymous, Hare Krishna. Accessed on March 14, 2008. http://en.wikipedia.org/wiki/Hare_Krishna.
69
Anonymous, John Lennon. Accessed on March 14, 2008. http://www.solcomhouse.com/johnlennon.htm.
70
