PROPOSAL
STYLISTICS ANALYSIS OF ROBERT FROST SELECTED POEMS
NAMA : SRI LALA STAMBUK: 06120200075
ENGLISH LITERATURE OF LETTERS FACULTY UNIVERSITAS MUSLIM INDONESIA
MAKASSAR
DAFTAR ISI
CHAPTER I INTRODUCTION ... 1
A. Background ... 1
B. Problem Statement ... 4
C. Objective of the study ... 4
D. Significane of the study ... 4
CHAPTER II REVIEW OF LITERATURE ... 10
A. Review of Related Theories ... 10
1. Poetry. ... 12
2. Rhetoric ... 14
3. Pragmatic Approach Stylistics ... 15
4. Discourse Analysis Approach to Stylistics ………..16
5. Stylistics ………..17
6. Figures of Speech ………18
7. Selected poems of Robert Frost ………..18
CHAPTER III RESEARCH METHODOLOGY ... 20
A. Reseach Design ... 20
B. Research Instrument ... 20
C. Data Collection Technique ... 21
D. Data AnalysisTechnique ... 21
DAFTAR PUSTAKA ... 22
BAB I
INTRODUCTION
A. Background
Stylistics is an applied linguistics subject focused with the study of language styles and practices that are supposed to generate an expressive literary style. There are various degrees of stylistic analysis, and a text is examined based on these levels, which are: The study of graphs is known as graphology.
The science of sound is known as phonology. Grammatical level is analysing the words and sentence structure. Semantics level is the meaning of words and sentences (Birch, 2005). Robert Frost was an American poet who specialized in realistic depictions of rural life. He was nominated four times for the Pulitzer Prize for Poetry. In 1916 An Old Man’s Winter Night was released. The author describes loneliness as he goes through the desolate environment lat e at night in this poem. Frost uses the nature to give the readers experience to the loneliness of a man with no other people with him. According to Kaplan (2007:
42) Frost is recognized for his frequent use of coordinating conjunctions in his poems. Frost's poetry uses a variety of stylistic elements at the phonetic, phonological, graphitic, grammatical, and lexico-syntactic levels to communicate his own viewpoint. According to Abdul Bari (2014: 124) Frost's choice of words and sentences is quite simple, with great use of metaphors, antithesis, and symbolism.
Stylistics is the study and interpretation of text from a linguistics perspective. It is branch of applied linguistics concerned with the study of style in texts (Leech, 2007). According to Wales (2011: 397), style refers to a person's perceived unique way of writing or speaking. In linguistics, style refers to the features of poetry's language, such as its ability to defy grammatical rules, have a distinct sound pattern, and have a distinct graphology. Stylistics in the literary text seeks to demonstrate how language style can generate meanings, so that literary appreciation is not solely based on assumptions (Verdonk, 2002: 31).
Stylistics analysis gives impartial and scientific opinion based on solid quantifiable data and methodical application. It makes use of specific technical vocabulary and notions derived from linguistics. The four layers of language aspects that can be studied stylistically are phonology, graphology, grammar, and semantics, according to Simpson (2004: 5). Grammar is the way words are coupled with others to produce phrases and sentences. Phonology is the sound of spoken language, graphology is the pattern of writing language, and grammar is the way words are combined with others to form phrases and sentences. The meaning of words and sentences is known as semantics. In this situation, all language elements work together to create something unique. The present study analyze Frost’s poem “An Old Man’s Winter Night” through the language features to reveal the meaning of the poem. Therefore, stylistics approach is used in order to find out those features and reveal the meaning of the poem.
In stylistics, especially poems, there are many different degrees of language. A poet develops hi s or her own style when writing poetry in order to set himself apart from other poets. The diction, word patterns, punctuation, and use of figurative language all reveal the style (Bradford, 2005: 16). Style can also be used to convey a specific idea to the reader. The use of style for a certain goal. For example, if a poet wants to convey the hidden meaning of some words or lines in a poem, which can give the poem a different meaning when compared to the explicit meaning, he or she can employ semantic elements through the use of figurative language. When stylistic aspects are used in literary works, the readers are given a specific interpretation and effect when they read the text (Verdonk, 2002: 36). Stylistics is frequently used to evaluate poetry since poetry incorporates poetic devices such as image, symbol, and figurative language in each line or stanza, which cannot be read solely from the surface. As a result, determining the writer's intent necessitates a thorough examination. Because style is linked to the writer's aesthetic and aim, stylistic devices are used to show the writer's style in the poem. In line with this, Verdonk (2002: 4) argues the text's meaning and aim might be expressed through the peculiar style of the language utilized and the distinctive expression in language. A stylistics study attempts to examine a text in terms of style by identifying the characteristics of the language employed, which are typically represented by key linguistic aspects or certain patterns of linguistic features.
The poem "An Old Man’s Winter Night" is one among the lyrical poems of Frost. The story focus on an old man reaches his level of sanity where he is weary of his surrounding, being lonely with no one to talk to. The speaker (the old man) often describes his surrounding as if they are somehow communicating with him. His weariness is making him aware by his environment and what happens to him, and his unawareness is making the speaker ‘slept’ through the night. Looking at it line by line and sentence by sentence is a great way to get submerged in its meaning. Therefore, stylistics devices are used to analyse the poem in order to answer the problem statement.
B. Problem Statement
1.What are the stylistic features of Robert Frost’s poem “An Old Man’s Winter Night”?
2. How do those stylistic features contribute to construct the theme of the poem?
C. Objective of the research
1. stylistic features of Robert Frost’s poem “An Old Man’s Winter Night”
2. How do those stylistic features contribute to construct the theme of the poem?.
D. Significance of the research
The researcher hopes that the result of this research give contributions for:
1. The poems writers
By knowing this research, the poems writers will be able to improve their styles in producing a new poem,. its better, easily, more confidence, enjoy and feel fun and make a good experince
2. Future Researchers
The researcher hopes that this research can be used as one references in conducting research in similar problem for future researchers by using other research methods.
7. Selected Poems of Robert Frost 1. An Old Man’s winter Night
All out of doors looked darkly in at him
Through the thin frost, almost in separate stars, That gathers on the pane in empty rooms.
What kept his eyes from giving back the gaze Was the lamp tilted near them in his hand.
What kept him from remembering what it was That brought him to that creaking room was age.
He stood with barrels round him—at a loss.
And having scared the cellar under him
In clomping there, he scared it once again In clomping off;—and scared the outer night, Which has its sounds, familiar, like the roar Of trees and crack of branches, common things, But nothing so like beating on a box.
A light he was to no one but himself
Where now he sat, concerned with he knew what, A quiet light, and then not even that.
He consigned to the moon,—such as she was, So late-arising,—to the broken moon
As better than the sun in any case
For such a charge, his snow upon the roof, His icicles along the wall to keep;
And slept. The log that shifted with a jolt Once in the stove, disturbed him and he shifted, And eased his heavy breathing, but still slept.
One aged man—one man—can’t fill a house, A farm, a countryside, or if he can,
It's thus he does it of a winter night.
2. Mending Walls
Something there is that doesn’t love a wall, That sends the frozen-ground-swell under it, And spills the upper boulders in the sun;
And makes gaps even two can pass abreast.
The work of hunters is another thing:
I have come after them and made repair Where they have left not one stone on a stone, But they would have the rabbit out of hiding, To please the yelping dogs. The gaps I mean, No one has seen them made or heard them made, But at spring mending-time we find them there.
I let my neighbor know beyond the hill;
And on a day we meet to walk the line And set the wall between us once again.
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls We have to use a spell to make them balance:
‘Stay where you are until our backs are turned!’
We wear our fingers rough with handling them.
Oh, just another kind of out-door game, One on a side. It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, ‘Good fences make good neighbors.’
Spring is the mischief in me, and I wonder If I could put a notion in his head:
‘Why do they make good neighbors? Isn’t it
Where there are cows? But here there are no cows.
Before I built a wall I’d ask to know What I was walling in or walling out, And to whom I was like to give offense.
Something there is that doesn't love a wall, That wants it down.’ I could say ‘Elves’ to him, But it’s not elves exactly, and I’d rather
He said it for himself. I see him there Bringing a stone grasped firmly by the top In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me, Not of woods only and the shade of trees.
He will not go behind his father’s saying, And he likes having thought of it so well
He says again, ‘Good fences make good neighbors.’
3. Fire and Ice
Some say the world will end in fire, Some say in ice.
From what I’ve tasted of desire I hold with those who favor fire.
But if it had to perish twice, I think I know enough of hate To say that for destruction ice Is also great
And would suffice.
4. Nothing Gold Can Stay Nature’s first green is gold, Her hardest hue to hold.
Her early leaf’s a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief, So dawn goes down to day.
Nothing gold can stay.
CHAPTER II LITERATURE REVIEW
This chapter presents the related literature review. The review discusses the explanation of Students Engagement, English teaching- learning, and studies using Canva aplication to improve students’
engagement in learning English.
A. The Previuos Study
1. Matduri (2006) at Stylistics analysis on robert frost poems coclude that through the analysis is that found that robert frost uses different stylistics devices to express his idea, feelings and through his poems.
For this matter, he wants to mankind of to be very well aware of their own lives sine life is too short. Related to tones, robert frost uses regregful, desperatec and optimistic tones. As addition he use imaginaries, such as imaginary of sight, imaginary of movement and so on to indicated his own character.
2. Angga dewi dan Kartika nova furya (2020) at Stylistics analylis in Robert Frost “Mending Wall “ conclude that in phonological level, alliteration, consonance, assonance and eye-rhyme are used to highlight important words. In Graphological level, contraction are used to keep the number of syllabels in each line,puchtuation:period,coma,semi colon and colom are used to separated the line and appostroph used to indicate direct speech. The four language features are link to each other to deliever the meaning of the poems that are conflict and relationship in huma life.
B. Review of Related Theories 1. Poerty
From meter and metaphor to rhyme, rhythm, and beyond, we spend a lot of time analyzing how different poetic devices are used to create meaning. Why would a poet choose one word over another? Why would they use an enjambment over a single line? But in those studies, how often do we stop to consider the role the reader plays in creating a poem’s meaning?
In the late 1960s and early ’70s, a challenge to traditional poetry took shape: language poetry. A sort of cross between poetry, philosophy, and semiotics, language poetry was an avant-garde movement that emphasized the role of the reader in a poem’s meaning. Instead of relying on traditional poetic techniques, language poets invite readers to analyze the text and participate in constructing meaning.
If that explanation of language poetry seems a bit abstruse, imagine this: What if, instead of watching a performance, you were invited to join?
What if reading a poem made you an active participant, rather than a passive experiencer? Well, that’s just what language poetry argues. It says that the reader’s interpretation of the text matters just as much as the words the poet chooses to put on the page.
The movement gained mainstream attention around the same time that language magazine, edited by Charles Bernstein and Bruce Andrews,
and This journal, edited by Robert Grenier and Barrett Watten, were being produced. The two magazines, as well as a slew of other poetry produced during that time period, blurred the line between poetry and critical writing about poetry.
The work of Bernstein, Andrews, Grenier, Watten, and other foundational members of the language poetry movement posed a new challenge to readers. By breaking up poetic language, they required readers to find a new approach to understanding the text. Elements of language poetry can add a layer of depth to how we read and write poems. As readers, language poetry invites us to engage with the text, impose our own meanings on it, and even discuss with others how our interpretations overlap or differ. As writers, language poetry allows us to be more playful with our audience. Rather than attempting to restrain their interpretations from veering away from our original intent, we can set their minds free to roam, reinterpret, and reimagine the meaning of our words.
2. Rhetoric
Rhetoric is the art of persuasion, which along with grammar and logic (or dialectic), is one of the three ancient arts of discourse. Rhetoric aims to study the techniques writers or speakers utilize to inform, persuade, or motivate particular audiences in specific situations. Aristotle defines rhetoric as "the faculty of observing in any given case the available means of persuasion" and since mastery of the art was necessary for victory in a case at law, for passage of proposals in the assembly, or for fame as a
speaker in civic ceremonies, he calls it "a combination of the science of logic and of the ethical branch of politics".Rhetoric typically provides heuristics for understanding, discovering, and developing arguments for particular situations, such as Aristotle's three persuasive audience appeals:
logos, pathos, and ethos. The five canons of rhetoric or phases of developing a persuasive speech were first codified in classical Rome: invention, arrangement, style, memory, and delivery. From Ancient Greece to the late 19th century, rhetoric played a central role in Western education in training orators, lawyers, counsellors, historians, statesmen, and poets. Scholars have debated the scope of rhetoric since ancient times. Although some have limited rhetoric to the specific realm of political discourse, many modern scholars liberate it to encompass every aspect of culture
. Contemporary studies of rhetoric address a much more diverse range of domains than was the case in ancient times. While classical rhetoric trained speakers to be effective persuaders in public forums and institutions such as courtrooms and assemblies, contemporary rhetoric investigates human discourse writ large. Rhetoricians have studied the discourses of a wide variety of domains, including the natural and social sciences, fine art, religion, journalism, digital media, fiction, history, cartography, and architecture, along with the more traditional domains of politics and the law.
Because the ancient Greeks highly valued public political participation, rhetoric emerged as a crucial tool to influence politics.
Consequently, rhetoric remains associated with its political origins.
However, even the original instructors of Western speech the Sophists disputed this limited view of rhetoric. According to the Sophists, such as Gorgias, a successful rhetorician could speak convincingly on any topic, regardless of his experience in that field. This method suggested rhetoric could be a means of communicating any expertise, not just politics. In his Encomium to Helen, Gorgias even applied rhetoric to fiction by seeking for his own pleasure to prove the blamelessness of the mythical Helen of Troy in starting the Trojan War.
3. Pragmatic Approach to Stylistics
Most discussions of pragmatics place the emphasis on the fact that pragmatics allows humanity into interpretation and analysis of communication-the speaker’s meaning, his or her intentions, play a crucial role. In this sense, more is communicated than is said. In the study of pragmatics, more than one tradition has developed. The most influential are probably the linguistic and philosophical traditions associated with the work of Paul Grice (1975); another tradition brings about a broader and more
sociological approach to pragmatic concepts.
Attempts to define pragmatics as the cognitive, social and cultural study of language and communication have also been recognized (cf. Mey 1998, Verschueren, Ostman and Blommaert 1995). Given that pragmatics covers such a wide range of phenomena, and given the assumption that pragmatic stylistics applies ideas from pragmatics, then the term pragmatic stylistics must cover a similarly wide range.
As illustrated in the previous section, pragmatics, stylistics and pragmatic stylistics can be understood in different ways. In this study, I will focus on the application of pragmatic principles in the study of literary discourse. In my view, the process of stylistic analysis interfaces with discourse analysis and the literary text can be seen and analysed as literary discourse.
By focusing on discourse aspects of literary text, I intend to demonstrate that the principles of cooperation and politeness, as well as the Irony principle and other aspects of interpersonal rhetoric, can be equally applied to the spoken as well as written communication. My assumption is that the author of a literary text provides readers with all the clues which are necessary to decipher discourse messages. The novelist creates particular settings, contexts and situations, which substitute for a real life environment. My aim is to consider the ways texts give rise to particular
effects (pragmatic approach focusing on Cooperative and Politeness principles applied to a stylistic approach).
Exploring cooperation between characters in the analysed literary text, the conception of interpersonal rhetoric introduced by Leech will be implemented and his hierarchy of pragmatic principles studied and discussed (Leech 1983). Prior attention is devoted to the principles of Cooperation and Politeness as first-order principles, the Irony and Banter principles as higher-order principles, and the Interest and Pollyanna principles (applied in the study of humour, which often develops to or overlaps with irony). Understanding literary discourse often involves interpreting indirect, more or less unpredictable messages. Here, the role of shared background knowledge, schemata, frames and scenarios (work in pragmatic stylistics has also largely focused on psychological processes involved in the understanding of texts) is crucial.
4. Discourse Analysis approach to Stylistics
The terms discourse analysis and stylistic analysis mean different thing to different people. Most narrowly defined, discourse analysis has only to do with the structure of spoken discourse. Such a definition separates discourse analysis from literany stylistics and pragmatics—the study of how people understand language in context. At the other end of the spectrum, discourse analysis can be carried out on spoken and written texts, and can include matters like textual coherence and cohesion, and the inferencing of
meaning by readers or listeners. In this case, it includes pragmatics and much of stylistics within its bounds.
Similarly, stylistics can apply just to literary texts or not, and be restricted to the study of style or, on the other hand, include the study of meaning. For the purposes of this review, relatively wide definitions of both areas have been assumed in order to make what follows reasonably comprehensive. The main restriction assumed is that the works discussed will be relevant to the examination of literature in some way. The section on literature instruction will include matters relevant to both native and non- native learners of English, and will also make reference to the integration of literary and language study.
5. Stylistics
Stylistics, a branch of applied linguistics, is the study and interpretation of texts of all types and/or spoken language in regard to their linguistic and tonal style, where style is the particular variety of language used by different individuals and/or in different situations or settings. For example, the vernacular, or everyday language may be used among casual friends, whereas more formal language, with respect to grammar, pronunciation or accent, and lexicon or choice of words, is often used in a
cover letter and résumé and while speaking during a job interview.
As a discipline, stylistics links literary criticism to linguistics. It does not function as an autonomous domain on its own, and it can be applied to an understanding of literature and journalism as well as linguistics.
Sources of study in stylistics may range from canonical works of writing to popular texts, and from advertising copy to news, non-fiction, and popular culture, as well as to political and religious discourse Indeed, as recent work in critical stylistics, multimodal stylistics and mediated stylistics has made clear, non-literary texts may be of just as much interest to stylisticians as literary ones. Literariness, in other words, is here conceived as 'a point on a cline rather than as an absolute Stylistics as a conceptual discipline may attempt to establish principles capable of explaining particular choices made by individuals and social groups in their use of language, such as in the literary production and reception of genre,
the study of folk art, in the study of spoken dialects and registers, and can be applied to areas such as discourse analysis as well as literary criticism.
Plain language has different features. Common stylistic features are using dialogue, regional accents and individual idioms (or idiolects).
Stylistically, also sentence length prevalence and language register use.Early twentieth century,The analysis of literary style goes back to the study of classical rhetoric, though modern stylistics has its roots in Russian Formalism and the related Prague School of the early twentieth century. In
1909, Charles Bally proposed stylistics as a distinct academic discipline to complement Saussurean linguistics. For Bally, Saussure's linguistics by itself couldn't fully describe the language of personal expression. Bally's programme fits well with the aims of the Prague School.
Taking forward the ideas of the Russian Formalists, the Prague School built on the concept of foregrounding, where it is assumed that poetic language is considered to stand apart from non-literary background language, by means of deviation (from the norms of everyday language) or parallelism. According to the Prague School, however, this background language isn't constant, and the relationship between poetic and everyday language is therefore always shifting.
6. Figures of Speech
figure of speech, any intentional deviation from literal statement or common usage that emphasizes, clarifies, or embellishes both written and spoken language. Forming an integral part of language, figures of speech are found in oral literatures as well as in polished poetry and prose and in everyday speech. Greeting-card rhymes, advertising slogans, newspaper headlines, the captions of cartoons, and the mottoes of families and
institutions often use figures of speech, generally for humorous, mnemonic, or eye-catching purposes. The argots of sports, jazz, journalism, business, politics, or any specialized groups abound in figurative language.
Most figures in everyday speech are formed by extending the vocabulary of what is already familiar and better known to what is less well known. Thus metaphors (implied resemblances) derived from human physiology are commonly extended to nature or inanimate objects as in the expressions “the mouth of a river,” “the snout of a glacier,” “the bowels of the earth,” or “the eye of a needle.” Conversely, resemblances to natural phenomena are frequently applied to other areas, as in the expressions “a wave of enthusiasm,” “a ripple of excitement,” or “a storm of abuse.” Use of simile (a comparison, usually indicated by “like” or “as”) is exemplified in “We were packed in the room like sardines” or “He is as slow as molasses.” Personification (speaking of an abstract quality or inanimate object as if it were a person) is exemplified in “Money talks”; metonymy
(using the name of one thing for another closely related to it), in “The power of the crown was mortally weakened,” where “crown” means “king” or
“queen”); synecdoche (use of a part to imply the whole), in expressions such as “brass” for high-ranking military officers or “hard hats” for construction workers.
Other common forms of figurative speech are hyperbole (deliberate exaggeration for the sake of effect), as in “I’m so mad I could chew nails”;
the rhetorical question (asked for effect, with no answer expected), as in
“How can I express my thanks to you?”; litotes (conscious understatement in which emphasis is achieved by negation), as in “It’s no fun to be sick”;
and onomatopoeia (imitation of natural sounds by words), in such words as
“crunch,” “gurgle,” “plunk,” and “splash.
Almost all the figures of speech that appear in everyday speech may also be found in literature. In serious poetry and prose, however, their use is more fully conscious, more artistic, and much more subtle; it thus has a stronger intellectual and emotional impact, is more memorable, and sometimes contributes a range and depth of association and suggestion far beyond the scope of the casual colloquial use of imagery. The Old and New Testaments of the Bible an example of a work rich in simile, metaphor, personification, and parallelism (which is often used in Hebrew poetry)is an important literary influence.
CHAPTER III
RESEARCH METHODOLOGY
This chapter provides the methodology of the research which explains research design, research participants, data collection and research instrument, and data analysis.
A.Research Desaign
This research is a qualitative descriptive study, namely research whose work is to present data based on the object of the research. Stylistic analysis will be used to investigate the themes utilizing various poetic devices and word items in order to comprehend the poem. The study will examine at how the poet expressed complicated ideas using simple narrative language. The examination of this data focused on four levels of language features:
phonological, graphological, grammatical, and semantic levels. These language levels were examined in order to respond to the two problem formulations in this study. This study uses an analysis of the Miles and Huberman (1992: 16) model which suggests that the field of activity in qualitative data analysis is carried out interactively and continues until it is complete. The process of data analysis, among others, is done by reduction, categorization, matching, and editing.
C. Data Collection
1. Roberst Frost Selected Poems
C.Research Instrument
1. Observation
Researcher will read Robert Frost’s Poems From collection 2. Documentation
Documentations are involved in poems, article and jurnal
D. Data Analysis Technique
1. Identifiying whereas style are involved in the collection poems of robert frost
2. Classifying which one is include into style 3. Describe the styles feature of robert frost poems 4. Describe the feature contribute of the theme 5. Conclude Finding from finding and discussion
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