Phân tích tu từ trong trích giảng văn học Anh Mỹ stylistic analysis of British and American literary texts

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DAI HOC
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( STYLISTIC ANALYSIS OF BRITISH AND AMERICAN LITERARY TEXTS)
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CONTENTS
INTRODUCTION
^
I. THE TEACHING OF LITERATURE
1.1. Literature
as
Language
1.2.
What Forms
of
Literature
to
Teach?
^
1.2.1.
The
Study of Poetry
1.2.2.
The
Study of Prose Fiction
1.2.3.
The
Study of Drama
IL
WHAT ARE NEEDED
IN THE
STYUSTIf:
ANALYSIS OF LITERARY
TEXTS? g
2.1.

Phonetic Expressive Means
and
Stylistic Devices
?
2.1.1.
Onomatopoeia
2.1.2. Alliteration
2.1.3.
Rhyme
2.1.4. Rhythm
2.2.
Lexical Expressive Means
and
Stylistic Devices
2.2.7.
Metaphor
2.2.2. Metonymy
2.2.3.
Irony
2.2.4.
Pun
2.2.5. Epithet
2.2.6.
Simile
2.2.7.
Periphrasis
2.2.8.Euphemism
2.2.9. Hyperbole
2.2.10.
Proverbs

and
Sayings
2.2.11.Quotations
2.2.12. Allusions
2.3.
Syntactical Expressive Means and
StyUstic
Devices
^^
2.3.1.
Stylistic Inversion
2.3.2. Detached Constructions
2.3.3.
Parallel Construction
2.3.4. Repetition
2.3.5. Enumeration
2.3.6. Suspense
2.3.7. Climax
2.3.8. Antithesis
2.3.9. Ellipsis
2.3.10. Rhetorical Questions
2.3.11.
Litotes
III.
PATTERN STYLISTIC ANALYSIS
3.1.
Poetry
^^
Stylistic Analysis
3.2. Drama

5
Stylistic Analysis
3.1.
Prose
2^
i
StyHstic
Analysis
(ONCLUSION fj
REFERENCES
c,
6
INTRODUCTION
British and American literature is an indispensable subject for
Vietnamese students of English.
The study of literature helps to enrich the student's mind as well as
to develop his language skills. To understand a literary
text,
the student
should know, among other
things,
how the language is used.
The
puipose
of stylistic analysis is to help the student to observe the
interaction of
foiTn
and matter, to see how through the infinite variety oi
stylistic devices and their multifarious functions the massage of the author
is brought home to the reader. A linguistic method of stylistic analysis

involves
carelul oKsei'vation
and detailed and consistent description oi
language phenomena in the text.
The examination of the text in detail may well lead to the need to
investigate all related features, lexical, grammatical and phonetic.
^CThe
paper falls into three parts. The first part deals with the teaching
oi literature in general and then with the teaching of literature texts. The
second
part focus on the main expressive
ineans
and stylistic devices that
are needed for stylistic analysis. The third
pa^rt
includes a number
(A
passages with stylistic analysis which
sei'ves
as pattern analysis.
^
L THE TEACHING OF LITERATURE
1.1. Literature as Language
The study of literature in general and the study of British and
American literature in particular is fundamentally a study oi language in
operation. The study of literature must always be based on the realization
that each work is essentially the collection oi words that are
peiTnanently
available for the student to inspect, to
investigate,

to
analyze,
to build
together. The experiencing of a work of
literature,
no matter how big or
small,
can only begin, and continue, with the reading and the study oi a
verbal text. Nowadays many of us do so much reading that we are inclined
lo
take it for granted, but the process of reading is a highly inlricalc
business. However, as with other activities in which we acquire skill after
much
practice,
we eventually learn to carry it out effectively
wilh
considerable speed. Nevertheless there are often occasions when the
symbols of language require more careful
inleipretation
than the
inexperienced reader may himself
realize,
and the most successful
teacher
oi"
literature will be one who apart from his insight into his
students'
minds
and
interests,

is fully conversant with all the ways in which language
works,
and can see exactly how it works in any particular case.
The teacher of literature (equally with the teacher of language) will
he aware how language can be used for different puipose. lo give
infonnation. lo express feeling, to
persuade,
to
recognize,
to conduct
thinking. He will be able to distinguish between language used to refer to
actual
things,
situation or relationships and language which is used to create
imaginary or hypothetical t)nes.
He
will be familiar wilh the sub-languages
ni dialect and register that are available for specilic purposes within the
lolalily of the language he is working in.
He
will be ready to recognize the
different methods by which a language
operates,
whether by statement.
h\
elaboration,
by rhythmic
effect,
by
comparison,

by
allusion,
or
b\
indirect
2
means such as understatement and irony: and he will be aware of the
special effects that can be gained by changing from on method to another
whether explicitly or unexpectedly. Most important or all.
perhaps,
he will
be aware that words actually used do not always represent the whole of the
ideas that are being brought into consideration: the analogy of the iceberg is
very useful here to compare the small part which is visible with the great
quantity which is unseen.
We may begin by repeating the following statement by H.L.B
Moody(1971)
that there is a close relationship between Literature and
Language. Language skills are four types: (i) listening (ii) speaking (iii)
reading (iv) writing. The inclusion of literature in the
cuiriculum
helps to
train students in the skill of reading, and perhaps a little in
listening,
speaking and writing. A student listens to literature read aloud by the
teacher(or on records or tapes) and to the discussion that literature always
stimulates in the class. He speaks when he acts in
plays,
when he reads
poems and when he takes an active part in discussion. Because literature is

interesting, he wants to talk about it.
It
can provide plenty of interesting
opportunities for writing too.
Literature does not of course concentrate on a particular area
oi
knowledge,
as for example does history or biology. Literature is
conceiTied
wilh all aspects of man and the universe in their entirety. Certainly every
work of literature is about
something,
often about many
things,
and the
more a person
reads,
the better stocked will his mind be wilh knowledge.
Knowledge,
of
course,
is a complex conception: we can analyze it.
and the way it is
acquired
from
literature,
in a number of ways.
Tliere
are.
for

example,
the fact that are actually encountered and explained in the
work of literature: there are also the facts
thai
we are impelled lo discover
front other sources in order lo understand particular situations or problems
that occur in literature. Sooner or
later,
students come to the realization that
separate
"fads"
in themselves are less important than the \\a\s \n which
they support and illustrate each other. Most important
ol
all
is
the
3
realization that the fact worth
knowing
are not only facts about
"things".
but the fact
ab<^ut
life.
A special kind of knowledge which every society must foster is that
concerning its own culture. The word
"culture''
is used lavishly nowadays.
with many different meanings and implications. Here we use it to signify

what is peculiarly characteristic of a particular community, including its
organization, institutions, laws, customs, work. play. art. religion and so on.
Some of this knowledge is transmitted in the
family,
and some in various
parts of the school curriculum. Literature, however, can often fill in any
gaps and weld the whole into a meaningful picture.
Although there are various forms of
literature,
important aspects are
lo all
foiTns.
A standard method of procedure could be adopted by any
teacher of literature and a suggested method is put forward to include the
following stages:
(1)
Preliminary assessment: (2) Practical decision: (3) Introduction
i)i
the work: (4) Presentation of the work: (5) Discussion: and
(6)Reinforcement(testing).
It
is essential, however, that no lesson should
seem
to fall into a set
mechanical
routine,
the teacher will be helped because literature in its
subject - matter and its expression is extremely varied.
1.2. What Forms of Literature to Teach?
1.2.1.

The Study of Poetry
We deal first with the study of poetry because this raises
some
of the
most typical problems in the teaching of literature. Poetry has been given a
place of honour in every culture. Yet the leaching of poetry
presents
special
dilTicullies. and many teachers are inclined lo avoid it as long as they can.
We must
bricHy
consider the reasons for this.
Tliere
seem to be two kinds of obstacles lo
the
enjoyment of poetry.
The
first is the thought that it is "useless".
Hie
second consists
nol
so much
prejudice as of memories of "unfortunate experience".
^
Archaic spelling, familiar words used in unexpected
contexts,
obscure references, unfamiliar
comparisons,
nonsensical
statements,

chaotic sentences are just a few of the features which are liable to make
cooperation difficult. Also the field of poetry seems to be extraordinarily
complex , for there are lyrical poems, epic,
naiTative
and satirical
poems,
and such technical expressions as metaphysical poetry, impressionistic
poetry, symbolism, imagery, hyperbole, metre, and perhaps many other
things besides.
How is the teacher of literature to steer his students safely through all
these difficulties ?
TTie
essential educational principle here is that work
rnust be related to students' capacity at any stage. The teacher should make
his own decisions in relation lo his
students'
capacities. Perhaps
the
most
important thing of all in teaching poetry is lo
preserve
a nonnal atmosphere
in the classroom.
Tlic
kind of poetry we want to use is
made
of
language
Jiisl
like anything else we read: and it confonns to the same

principles,
building up its "message" wilh the help oi individual words and syntax or
grammar.
Language study thus
becomes
extraordinarily important for
the
study oi poetry. The importance of linguistic study is nol. of course.
confined lo the understanding of single words or phrases. But linguistic
study becomes literary only when it serves the
sludy
of
literature,
when it
aims
at
investigating
the
aesthetic
effects oi
language,
in
short,
when it
becomes stylislics.
1.2,2, The Study of Prose Fiction
From the more general educational point of
xicw.
it must he
recognized that the novel is a literary

fonn
which has
engaged
the alteulion
oi a large number oi notable writers. Novels and short slolies tend to ha\e
lairlx'
complex
structures involving
selling,
characters,
narralixc.
narratixe
technique,
language and themes.
As for language, there is usually a great deal to be
gathered
from a
careful appreciation of the resources of
language,
the sub -
lamiilies.
dialects, registers and personal "idiolects" which may be employed in the
course of a single novel or a short story. The most straightforward type ol
novel maintains a uniform style throughout.
coiTesponding
to the
pessonality of the particular
naiTator
or novelist. This method allows lor
many subtleties of description and definition. In other

cases,
however,
authors will modify the language they employ, whether in direct speech or
narrative, to
retlect
the thoughts and feelings of particular characters at
particular moments. Here the teacher is oi great importance in helping
students to reorganize the effect of stylistic devices (SDs) and
expressive
means (EMs) used.
1,2.3, The Study of Drama
In
the sludy oi a dramatic
work,
the same things (
aclting.
characters,
narrative,
technique,
language,
theme) may still require our
attention.
But
over and above
these,
we are concerned with the stylistic examination
oi
the text.
II.
WHAT ARE NEEDED IN THE

STYLISTK
ANALYSIS OF LITERARY
lEX
IS?
Literature
is related lo all
aspects
of language. All language
phenoiTiena
occuring in the text fonn a
complex,
present the whole. A
linguistic
method
of stylistic analysis involxes careful observation and
detailed and consistent
description
of language phenomena in the
text,
ll
is
necessary lo emphasize that a rigorous analysis of expressive means (EMs)
and stylistic dexiccs (SDs)
cleariy
seen at first glance is likely lo uncover
oilier.
previt>usly
unobserved,
significant features.
Tlic

examination oi the text in detail may well lead lo the need to
investigale
all related lealures.
lexical,
grammatical and phonetic. So. while
analvzing the
lexl
we must take into account the interrelation
ofmanx
parts
w
Inch make up the whole.
2.1.
Phonetic Expressive Means and Stylistic Devices
The sound of a word or the way words sound in combination
contribute something to the general effect of the
massage,
particularly
when
the sound effect has clearly been deliberately worked out.
2.1.1.
Onomatopoeia
Onomatopoeia is a combination of speech - sounds which
aiins
at
initiating sounds produced in nature(wind. sea.
thunder,
etc),
by
lhings(machines or tools, etc), by people(sighing,

laughter,
patter oi feel.
etc) and by animals.
Tlierc
are two types of
onomatopoeia:
direct and indirect.
Direct onomatopoeia is contained in works
thai
imitate natural
sounds,
as
cliiii^-cJoiii*.
buzz,
hcm^.
cuckoo.
mc\\\
pii^-poni^,
roar and the
like.
Indirect onomatopoeia is a combination oi sounds which aims at
makinu
the sound of
utterance
an echo oi its sense.
For
example:
"And
the
silken,

sad. uncertain rustling of
each"
Tlie
repetition of the sound js| (E.A.Poe) in the line actually
produces the sound of the rustling of the curtain.
2.7.2. Alliteration
Alliteration is a phonetic stylistic device which aims at imparling a
m
elodic effect lo the utterance
The essence ol
ihis
device lies in the repetition of similar
sounds,
in
particular consonant
sounds,
in close
succession,
parlicularlv
al
the
bciiinnini:
of
succcssixc
words:
7
For example:
"Deep
into the
Jarkness

peering, long I
stooJ
there
wonJering.
fearing".
"/doubting.
Jreaming (breams
no mortals ever
Jared
to
Jream
betore"
2.1.3.
Rhyme
Rhyme is the repetition of the identical or similar stressed sound or
sounds.
Identity and similarity of sound combination may be
relatix^e.
There are full rhyme and incomplete rhymes.
The full rhyme occurs when differing consonant sounds are followed
by identical stressed
vowel-sounds,
and the following sounds, if any. are
identical:
ioc
-
ioc:
meci
-
ilcei:

b//ffer -
iY>//gher.
Tlie
incomplete rhyme occurs when only the final consonant -sounds
ol the rhyming words are identical: the stressed
vowel-sounds
as
well
as the
initial
consonant-sounds,
if any, differ:
sou/ - oil:
m'u'lh
- for///.
2.1.4, Rhythm
Rhythm exists in all spheres of human activity and assumes
mullifarious
fonns.
It
is a mighty weapon in stirring up emotions whatever
Its
nature
or
origin,
whether
it is
musical,
mechanical,
or symmetrical as

in
aichileclure.
Cienerally
rhythm may be
defined
as follow s:
"[•ihythm
is a How.
movement,
procedure, etc
characterized
b\
basically regular recurrence oi elements of lealures. as beat or
accent,
in
alternation with
opposite
or different
elements
or
features"
(Webster's New World
Dictionarx)
d
Rhythm reveals itself most conspicuously in music, dance and verse.
2.2.
Lexical Expressive Means and Stylistic Devices
2.2.1.
Metaphor
A metaphor is a relation between the dictionary and contextual

logical meanings based on the affinity or similarity of certain properties or
lealures of the two
con'esponding
concepts.
Metaphor can be embodied in all the meaningful parts of speech: in
nouns, adjectives, verbs, adverbs and sometimes even in the auxiliary parts
of
speech,
as in prepositions.
• Nouns: His eldest son is the star of the family.
• Adjectives: The
hwnan tide
is rolling westward.
(Charles
Dickens. Dombey and Son).
• Verbs: He
s^am
bravely against the stream of popular
applause.
2.2.2.
Metonymy
Metonymy
is based on the proximity of the two concepts which these
meanings represent.
TIius the
word
crown
may stand for
"King
or

Queen'\
hollle
for
"the
liquor it contains":
e.g.
Tlie
C^rown
would not approve it.
He is too fond of the bottle.
2.2.3.
Irony
Irony is a stylistic device also
based
on the simultaneous realization
of two logical meanings - dictionary and contextual, but the two
meanini^s
sland
in opposition lo
each
other.
e.g. It must be
deli^^htfiil
to find oneself in a foreign country without
a penny in one's pocket.
The word delightful acquires a meaning quite the opposite lo its
primary dictionary
meaning,
that is
"unpleasant",

"not
delightfur\
2.2.4. Pun
The pun is another stylistic device based on the interaclion of two
well-known meanings of a word or phrase.
e.g. " Bow to the hoard ". said Bumble.
Oliver brushed away two or three tears that were lingering in his
eyes:
and seeing no hoard but the
table,
fortunately bowed lo that !
(Charles Dickens. Oliver Twist)
2.2.5.
Epithet
Tlic epithet
is a stylistic
device
based on the
interplay
of
emotive
and
lt>gical
meaning in an attributive
word,
phrase or even
sentence,
used to
characlcrize an object and pointing out to the
reader,

and
IVcquenllv
imposing on him. some oi the properties or features of the object wilh the
aim
of giving an individual perception and evaluation
i)i
these features or
properties:
e.g. "Such was background of the wonderful,
cruel,
euchanling.
hewildcriug,
fatal,
great
city'\
(O.Henry)
2.2.6.
Simile
A simile consists in giving fonnal expression to the likeness said to
evisl between
two dilferenl objects or events.
Tlie
fonnality peculiar lo a simile consists in using some word
oj-
words for
drawini:
attention lo the likeness.
Tlic
words commonlv used lor
1C

this purpose are as, as - so, like.
e.g.
En-ors,
like
straws,
upon the surface How:
He that would search for pearis must dive below.
(.lohn
Dryden)
2.2.7.
Periphrasis
Periphrasis is the re-naming of an object by a phrase that brings out
some particular feature of the object. The essence of the device is that it is
decipherable only in context. If a periphrastic locution is understandable
outside the
context,
it is not a stylistic device but merely a synonymous
expression.
e.g. "And Harold stands upon
the
place of skulls,
I
lie
grave of
France,
the deadly Waterloo".
(Ci.G.
Byron)
2.2.8.
Euphemism

Euphemism is a word or phrase used lo replace an unpleasant
w^ord
or
expression
by a conventionally more acceptable one.
Tlic
following euphemisms are
used
lo
replace
"lo die":
to pass
away,
to
expire,
lo be no
more,
to
depart,
to join the
majorily.
and the more facetious ones:
to kick the
bucket,
to
gixe
up the
ghost,
to go west.
e.g.

" Tliey
think we have come by this horse in some
dishouesi
manner " = steal
(Charles Dickens)
2.2.9. Hyperbole
Hyperbole is deliberate overstalemcnl or exaggeration which aims at
11
intensifying one of the features of the object in question lo such a degree as
will show its utter absurdity.
e.g. Rosemary Fell was not exactly beautiful. No. you couldn't have
called her beautiful her beautiful. Pretty?
Well,
if you took her to pieces
(Katherine Mansfield)
2.2.10. Proverbs and Sayings
Proverbs and sayings have certain purely linguistic features which
iTiusl
always be taken into account in order lo distinguish them from
ordinary sentences. Proverbs are brief statements showing in condensed
form the accumulated life experience of the community and serving as
conventional practical symbols for abstract ideas. They have
metre,
rhyme
and alliteration:
e.g.
To cut
one's
coat according to
one's

cloth.
The proof of the pudding is in the eating.
Early lo bed and early lo rise.
Makes a man
healthy,
wealthy and wise.
2.2.11.
Quotations
A quotation is a
repetition
of a phrase or statement from a
book,
speech and the like used by way of authority
illustration,
proof or as a basis
lor further speculation on the matter in hand.
e.g.
Tlie
Declaration of the Rights of Man and the
Citizen
al the time
ol the
French
Revolution,
in 1791. also slates: "All
inen
are born
lice
and
w ilh

equal
rights,
and must always remain free and ha\e equal lights."
(Ho Chi
Minh)
12
2.2.12. Allusions
An allusion is an indirect reference, by word or
phrase,
to a
historical, literary, mythological, biblical fact or to a fact of everyday
lile
made in the course of speaking and writing.
e.g. In this house of his there was writing on every wall.
(John Galsworthy)
It is an allusion to the Biblical story of a warning written in letters oi
lire on the wall of the palace of the last Babylonian King Balthazar (6'''
century BC).
2.3.
Syntactical Expressive Means and Stylistic Devices
2.3.1.
Stylistic Inversion
Stylistic inversion in
Modem
English should not be
regarded
as a
violation of the
noiTns
of Standard English. It is on of the

fonns
of what arc
known as
emphaUc
constitutions.
The following patterns of stylistic inversion are most frequently met
both in English prose and English poetry.
i.
Tlie
object is placed at the beginning oi the sentence.
e.g. Talent Mr. Micawber has: capital Mr. Micawber has
not.
(Charles Dickens)
ii.
Tlie
allribute is placed after the word it modifies.
e.g. With fingers weary and worn
(Thomas Hood)
iii.
Tlie predicate
is placed before
the
subjecl.
e.g.
A
good generous prayer it was.
(Mark Twain)
13
iv. The adverbial modifier is placed at the beginnmg of
the

sentence.
e.g. Eagerly I wished the morrow. (E. A. Poe)
V. Both modifier and predicate stand before the subject:
e.g. In went Mr. Pickwick
(Charles Dickens)
2.3.2. Detached Constructions
In the English language detached constructions are generally used in
the
belles - lettres prose style and mainly with words that have some
explanatory
functions.
The detached part, being torn away from its
referent,
assumes a
greater degree of significance and is given prominence by intonation.
e.g. Sir Pitt came in first, very much
flushed,
and rather unsteady
in his gait. (W.M. Thackeray)
2.3.3.
Parallel Construction
Parallel constructions is a device involving identical, or similar
syntactical structure in two or more sentences or parts of a sentence.
e.g. The seeds ye sow - another reaps.
The robes ye weave - another wears.
The
anns
ye forge - another bears.
(P.B.Shelley)
2.3.4. Repetition

Tlie
stylistic device of repetition aims at logical emphasis, an
emphasis
necessary to fix the attention of the reader on the kev-word oi the
ulteranee.
1^
Repetition may be:
i. Anaphora or the repetition of a word(or phrase) at the
beginning of two or more consecudve
sentence,
clauses or phrases:
e.g. For that was it ! Ignorant of the long and stealthy march
of passion, and of the state to which it has reduced
Fleur:
ignorant of
how Soames had watched her; ignorant of
Fleur's
reckless
desperation - ignorant of all this, everybody felt aggrieved.
(John Galsworthy)
i. Epiphora or the repetition of a word (or phrase) al the
end of consecutive
sentence,
clauses or phrases:
e.g. I am exactly the man to be placed in a superior position
in such a case as that. I am above the
rest
of mankind,
///
such

a case as that. I can act with philosophy
///
such a case
a.s
ihai.
(Charles Dickens)
2.3.5. Enumeration
Enumeration is a stylistic device by means of which homogeneous
parts oi an utterance are made
heterogeneous
from the semantic point oi
\ iew.
e.g. and as she had no sort of
character,
nor
talents,
nor
opinions,
nor
occupations,
tun'
amusements,
nor that vigor of
stnil
and
ferocity of temper which often falls lo the lot of entirely foolish
woman,
her
hold upon Sir
Pitt's

affections was not very great.
(W.M.Tliackeray)
2.3.6.
Suspense
Suspense
is a compositional
device
which consists in arranging the
matter
iA
a communication in such a
wax
that the less important.
descriptive,
subordinate parts are amassed at the beginning, the
main idea
being withheld till the end and his interest is
kept
up.
15
e.g.
Mankind,
says a Chinese manuscript, which my friend M. was
obliging enough to read and explain to me for the first seventy thousand
ages ate their meat raw
2.3.7.
Climax
Climax is an arrangement of sentences (or of the homogeneous parts
of one sentence) which secures a gradual increase in
significance,

importance, or emotional tension in the utterance:
e.g. It was a lovely city, a beautiful
city,
a
fair
city,
a
veritable gem
of
a
city.
(G. G. Byron)
A gradual increase in significance may be maintained in three ways:
logical,
emotional and quantitative. Emotional climax is achieved by such
words wilh emotive meaning as "lovely",
"beautiful",
"fair" in the above
example.
Quantitative
climax may be found in
They looked at hundreds of houses: they climbed
tlunisands
of stairs:
they inspected innumerable kitchens.
(Somerset
Maugham)
2.3.8. Antithesis
Antithesis is a stylistic opposition based on relative opposition which
arises out oi the context through the expansion of the

objectixvly
contrasting pairs:
e.g.
^'outh
is
lovely,
age is
lonely.
Youth is
fiery,
age is frosty.
(H.W.
Lonulcllow)
16
2.3.9. Ellipsis
As a stylistic device, ellipsis always imitates the common features ol
colloquial language, where the situation
predetemaines
nol the omission ol
certain members of the
sentence,
but their absence.
e.g.
'There's
somebody wants to speak to you ".
( E. Hemingway)
2.3.10. Rhetorical Questions
The rhetorical question is a special syntactical stylistic device
consisting in reshaping the grammatical meaning oi the interrogative
sentence. In other

words,
the question is no
longer
a question but a
statement expressed in the
fonn
of an interrogative sentence.
e.g. Men oi
England,
wherefore plough
For the lords who lay ye low
7
(P.B.
Shellev
2.3.IL
Litotes
Litotes is a stylistic device consisting of a peculiar use of negative
constructions.
TTie
negation plus noun or adjective serves to establish a
positive feature in a person or thing. This positive feature,
however,
is
somewhat diminished in quality as compared with a synonymous
expression
making a straightforward assertion of
ihe
positive feature.
e.g. He is not a bad student
-

He is good student.
He is no coward - He is a brave man.
"not bad" is nol equal lo "good" (although and "no coward"
is
not
ecpial
lo " a brave man")
Tliese
constructions are svnonvmous.
111.
PAM
ERN STYLISTIC ANALYSIS
3.1.
Poetry
PHRCY BYSSIliZ SMLLLUY
, TO THE MEN OP
ENCILANO
1.
Men of
FTigJaiifl,
wherefore
plom^li
t^or
the lords who lay ye low?
Wherefore weave wilh loll and
cnic,
The
ricli
robes your
lytniils xvpai?

2,
VVIieiefoie
feed,
and
clollie,
ninl
save,
f'foin
(he
rirndle
lo the
grnve,
Those
niiRrnlefttl dioiies
who would
Drain
yotir
sw^eat—nny,
drink
your
bloodi
.1.
Wliriefoie,
l^ees
of
Englntid,
forgo
Many n
\ven|)oii.
chain and

.sroinge,
That
Ihe.'ie:
slin^les.s
drones
tnny spoil
Tlie foicell i piodiiee
of yonr toil?
I. Have ye
.
leisure,
conifoil,
calm,
Shelter, food, love's
geiille bnlin?
{)\
what
is
it ye buy so
tlear
With your pain
and
with your fenr?
f).
The seed ye sow,
niiother
reaps;
The
wealth
ye find, another

Iceeps;
1
he
rohns yo
wonvn,
nnolhor wen
is;
the
aims
ye
foige,
another bears.
f).
Sow
srfMl—but
let no
lyrnitt
reap;
Fiiul
wenllli.
-let. no impostor
hnn[);
Wenve
t()hes,-lel
no idler wear;
I'oige
nifiis,—in
yonr defence
lo
bear.

t.
Sill
ink
lo
your cellars, holes, and
cells;
In
linlLs ye dfM
h.
ai tot
her
f I we
lis.
Wh
y shake? Iho chniiis
ye
wioiifjii I ? '>'(» see
llie sleel
ye
lenipeied
glance on yo.
1.
Willi plough and spade, and hf)e and
loont,
rince youi
ginve,
nnd
l)nilfl
your
tomb,

And weave
yoni winding
slieel,
till
fair
l''ngland
he
yom
so(nilcliie.
Id
Stylistic Analysis
The poem is an expression of Shelley's just indignation at the cruelty
of capitalist exploitation. Thus it is imbued with bitter irony and wrath. The
poem is built on a contrast between "Men of England" - the
labourers,
those who create real values, and the lords. " the ungrateful drones" who
exploit the toilers - " drink their blood".
The poem is built up as an address " to the Men of England". The
beginning of the poem ( the first two lines) is an appeal
expressed
through
the SD of rhetorical question:
Men of England, wherefore plough
For the lords who lay ye low?
Tlie
idea cxpres.sed in this question is sustained through the first three
slanzas. The anaphoric repetition: "wherefore
weave'",
"wherefore feed".
"Wherefore, bees of England" stresses the idea - the uselessness of "toil

and care" wasted on " those ungrateful drones". In the fourth stanza the
climatic enumeration: " Have ye
leisure,
comfort,
calm " brings out a
rhetorical question:
Or what is it ye buy so dear
With your pain and with your fear?
Tlie
fifth stanza offers a solution of the
problem,
a way out of the
unbearable situation. The use of parallel constructions here is most
efficient, a series of imperative sentences brings out the climax:
Sow
seed
- but let no tyrant reap;
Find
wealth,
- let no impostor
heap:
The last two stanzas present a kind of ironical address, directed
against those who shrink from struggle lo their "
cellars,
holes,
and
cells",
those who seek no way out and submit to tyranny and cruel exploitation:
they
weave their own "

winding-sheet",
their
fate
is
inosl Iragic
and
disastrous,
if they
d(^
nol fight against the monstrous social injustice
ihev
are doomed - "England be your sepulchre".
The metrical pattern of the poem is that of trochee:
' ^.
\
L
u
\
^.
y.
\ i
:^.
The rhyming scheme is couplet ( a a b b). Note the imperfect rhyme
in the
P'
stanza.
The major SDs used in the poem are syntactical SDs: rhetorical
questions, various kinds of repetition, parallel
constructions,
climax. These

SDs are used throughout the whole poem and create a strong emotional
effect.
The imagery employed in the poem is used with the purpose oi
enhancing the contrast between the toilers and the oppressors.
Note
the
metaphors - " bees of England", , " those ungrateful drones". " drain your
sweat
-
nay",
drink your blood". The verb metaphors (
"drain",
"drink")
though trite add to the emotional appeal of the poem.
The metaphors used in the last stanza: " And weave your winding-
sheet", "England be your sepulchre" present a kind oi
sinister
warning -
those who do not struggle will perish.
One should note another lexical SD used in the poem - metonymy:
"from the cradle to the grave". " with plough and
spade,
and hoc and loom
".
Tlie
interaction of metaphor and metonymy in the sexenlh stanza
increases the effect created by the use of other SDs: " the steel ye
teinpered
glance on yc".
In conclusion one must say that the use of archaic

fonns
oi pronouns
( "thee", "yc") adds to the solemn atmosphere created by the use of lexical
and syntactical SDs and heightens the emotional appeal of the poem.
IC
ROBERT
FROST
THE ROAD NOT TAKEN
Two roads diverged
in
a yellow wood,
And sorry I could not
Irnvel l)olli
And be
otie
traveller,
long
I stood
Atid
looked down one as
fa^
as 1 could
To where it
beiit
in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing (here
Had worn

Iheiii
really
aljoul (lie
saiiio.
And both that
niorning
equally lay
In leaves no step had trodden black.
Oh, 1 kept the first for another day!
Yet knowing how way leads on lo way,
I doubted if I
sliould
ever
coiue
back.
I
shall
be telling
this
with a sigh
Somewhere
ages and ages hence:
Two roads
diverged
in a
wood,
aiul
f -
I took the one
less

travelled bv,
And that has made all Ihe difference.
ii
Stylistic Analysis
The poem
"
The Road not Taken" is casual in its
subject-matter.
describing a particular place at a particular time: once while travelling alone
the poet stopped at a fork in the road, undecided which path to take. Finally
he chose one because it seemed a little less frequented.
In analyzing this poem we must point out its three main features:
1)
the effect of striking conereteness and simplicity: 2)the impression of a
melancholy meditating tone: 3) the implication suggested by the poet as the
ultimate stylistic effect.
These three peculiarities are linked and interwoven to produce a joint
impression, the EMs and SDs of the poem are aimed at achieving the
desired
ellect.
The poet describes a particular autumn wood: "Two roads
diverged
in
a yellow wood", and two paths: one - " bent in the
undergrowth",
the other
"was grassy and wanted wear". All the facts consistently
presented
in the
poem

stress
the
conereteness
of the image (the third stanza):
And both that morning equally lay
In leaves no step had trodden black.
The poet
consistenUy
refers to himself as a traveller in a definite
wood described precisely one autumn day ( the first stanza):
And
soiTy
I could not travel both
And be one traveller.
SDs used in describing the picture are aimed at arousing a
concrete
image: epithets
"yellow",
"grassy",
metonymical periphrasis "wanted wear"
and "no step had trodden black" suggesting paths which arc seldom
used.
A careful and inclusive analysis must
consider
linguistic items al
various
levels,
as all stylistically significant features
foim
a

coinplex.
Tlie meditative
tone of reminiscence is established from the \ery
first. The most important factor in achieving this effect
is
a phonetic SD: a
peculiar rhyming scheme a b a a b which suggests a slow
mclancholx
intonation.
Tlie
stanza oi the poem consists of live
lines,
lines
3
and 4
having the same rhyme as line 1 produce a peculiar effect
oi
sound
anadiplosis.
Tliis
sound(or rhyme) anadiplosis stresses the impression
iA
a
slow movement oi thoughts. Three instances of the repetition of the
21