Stylistic Analysis of the
maggie and milly and molly Stylistic Analysis of Anna A Stylistic Analysis of a
LEVELS OF That puppy’s knocking Short Story ‘The Last
and may “A Kite for Aibhín” Swell’s “BLACK BEAUTY”:
LANGUAGE over those potplants! Word’ by Dr.
(deviation) A Poetic Prose
A. R. Tabassum
GRAPHOLOGICAL First, there is the Capitalization is an important Multiple punctuation
palpable physical element in Cummings‘ marks in a sentence,
substance of the poems. His style of writing capitalization,
utterance which, when poetry is manifested by hyphenation, dashes, use
written, comprises violating the regular rules of of brackets, unusual
graphetic substance or, capitalization or punctuation spellings and quotation
when spoken, phonetic in general. He often writes marks are unique
substance. proper names in small letters. graphological features of
In terms of graphology, Even his own name is written the text. The use of such
this particular sentence using small letters. Rather features has particular
is written in the Roman than capitalizing the first semantic and stylistic
alphabet, and in a 10 word of every sentence, or effects on texts
point emboldened every proper name,  Use of Multiple
‘palatino’ font. Cummings seems to have an Punctuation Marks: Use of
However, as if to echo its entirely different use for particular punctuation
counterpart in speech, capitalization in a poem. In marks in a sentence
the sentence-final this poem, there are creates certain effects in
exclamation mark numerous examples of the the text. Often such
suggests an emphatic graphological deviation. fragmented language
style of vocal delivery. Examples from the poem makes text difficult to
include; ―maggie, milly, comprehend but here case
molly and may” also starting is reverse. Sentences
the lines of the poem without narrated by Black Beauty
capitalization are fragmented but are
not difficult to
comprehend. It also helps
the author to narrate the
events in detail which is an
evidence of her extensive
and deep observation of
animal life. Two or three
examples are being
presented here. Example:
 "Over the hedge, on one
side we looked into the
plowed fields and on the
other we looked over a
gate at our master's house
we stood by the road
side."(p4)  "My mother
seemed much troubled;
she said that she had
known that horse for
years, and his name was
Rob Roy; he was a good
horse, and there was no
vice in him."(p 8-9)
 Capitalization Every
chapter and its title is
capitalized and serves the
purpose of foregrounding
and attracts the readers
and brings colors to
aesthetic beauty of novel.
The title of all chapters is
in noun phrases just like
news report’s heading.
Examples:  "MY EARLY
HOME"(p4)  "CHAPTER 2"
 "THE HUNT"(P7)
Unusual Spellings 
"Hallo"(p33),"Thank
Ye"(p33) and "Plowed" are
the words with unusual
spellings. There purpose
looks to create certain
effects because in the
whole novel "Ye" is not
used for "you" except in
this sentence. Hello and
ploughed are actual words
for "Hallo" and "Plowed".
 Use of Brackets Use of
bracket is also a
graphological feature of
this text. It has been used
to provide extra
information related to
particular event or
Example:  Dorothy (Dolly
they called her) p35  (I
was on the side next the
house and could see all
that went on) p25
 Hyphenation
Hyphenation has been
used to create new
vocabulary item in the text
which adds colors to
literary expressions in the
novel and also has the
aesthetic appeal for the
readers.
LEISURE
HARLEM In Just-
Stylistic Analysis of The BY
Philippine Essay, “The BY BY
Voice HENRY WILLIAM
Will of the River” LANGSTON HUGHES EE CUMMINGS
DAVIES
Graphological features The poem “Harlem” In lines [1] and [2] there In this poem
applied in the story are does not follows any are pauses inserted for graphological level
punctuation; full stop (.) format exploited by the effect. Line [1] only has consists of “full stops”,
186 times, comma (,) 93 previous poets. The two words and the “commas” and
times, apostrophe („) 41 poem consists of three second, “Just-”, is “apostrophe”. There is
times, inverted commas stanzas. The first stanza capitalized then beautiful division of
(“”) 161 times, question consists of eight lines of hyphenated at the end, couplets. There is the
mark (?) 18 times and irregular length. The which gives off the use of punctuation.
exclamation mark (!) 7 first and third and sixth sense of importance to
times. Another lines retain six words, it as it forces the reader Full stop: It is used
excessively used the second and eighth to stop and focus on it. seven times in this
graphological feature is lines retain four words, Line [2], on the other poem. Each full stop
„contracted form‟. For the fourth and seventh hand, possesses an shows the completion
example they‟re, shan‟t, lines have five words, entire clause, but the of one sense.
haven‟t, wouldn‟t, can‟t, and the fifth line has first word “spring” is set
it‟s, who‟s, you‟ve, he‟s three words. The off from the rest by a We have no time to
etc These contracted second stanza consists large space, which once stand and stare. And
forms are used for the of two poetic lines again puts it in the stare as long as sheep
economy of space and having each line four spotlight of attention or cows. Where
time. Capitalization is words .The third stanza and visually groups it squirrels hide their
used for two times in the has a single poetic line with the two words nuts in grass. Like skies
story. For example, which retains for above it, in order to at night. How they can
words. The irregularity create an effect of dance. Enrich that
A Message. of the length of lines special focus within the smile her eyes began.
Capitalization is used and stanzas may poem itself. It also gives We have no time to
here to emphasize the suggest the irregular, off the impression of stand and stare.
word “A MESSAGE”. It chaotic and uncertain the way an excited child
shows the importance of life style of the Negros would speak, producing Comma: It is used
word “the message”. It is who live in Harlem. All single words with eleven times in this
a deviation. the poetic lines begin pauses as he tries to poem. The frequent
Oh Thou whose Voice with the words which catch his breath in his use of comma reflects
the waters heard, and employ the capital state of excitement. the sense of
hushed their saying at letters. The first ten Similarly, lines [6] and wandering. They
Thy Word. lines are in normal [14] contain words such emphasize the pauses
form, but the last line is as “eddieandbill” and for thought and
The capitalization in this italicized to draw the “bettyandisbel” that reflection.
statement is not a attention of the reader have been jammed
deviation on the part of that a deferred dream together on the other What is this life if, full
writer. It is the norm of is a bomb that can hand, which also of care,
language as these words destroy the human foregrounds them
referred to The Lord, who society. There are six against the rest of the No time to see, when
is a supernatural force. question marks in the content and mimics the woods we pass,
poem. The first way that children often No time to see, in
question exposes a big speak out phrases in broad daylight,
problem hinting at one breath when they Streams full of stars,
thewould- be effect of are excited. Another A poor life this if, full
the deferred dream. interesting function of of care,
There are five rhetorical the poem’s graphology No time to turn at
questions which are not is that it also mimics Beauty’s glance,
intended to seek the aspects in the real
answers, but they world. For example, And watch her feet,
provide the answers lines [5], [13], and [21-
themselves and hint at 24] all pertain to the Apostrophe
the adverse would-be balloon man’s whistling This is used only one
effects or while he is far away time in this poem in
consequences. The from the children in the second last
fourth and seventh terms of distance, since couplet. The capital B
lines end with dash the poem mentions it of Beauty shows the
mark that may indicate explicitly with the focusing message of
hesitation in expression repeated word “far.” the poet to modern
or a meditative pause. This sense of his being man to turn towards
The second and ninth distant is conveyed nature.
lines do not have any through the addition of
punctuation marks. extra spaces between No time to turn at
There is only one the words in lines [5] Beauty’s glance,
period / full stop in the and [13] as well as the
tenth poetic line. presentation of lines
[21-24] in a downward
cascade format of
words with a space
insertion in the first
line. Finally, action is
also conveyed indirectly
in lines [18-20] as the
balloon man is
described as being
“goat-footed” and that
evokes a trotting type
of movement on his
part. This is alluded to
graphologically through
the downwardly
cascading words “and”,
“the”, and “goat-
footed,” which
progressively move
further to the right of
the page, as if the
balloon man himself
was trotting along
towards the children,
inside the poem.

LEVELS OF That puppy’s knocking
LANGUAGE over those potplants!
PHONOLOGICAL In that spoken
counterpart, systematic
differences in sound sort
out the meanings of the
words used: thus, the
word-initial /n/ sound at
the start of ‘knocking’ will
serve to distinguish it
from, say, words like
‘rocking’ or ‘mocking’. To
that extent, the phoneme
/n/ expresses a
meaningful difference
in sound.
Apart from these fixed
features of
pronunciation, there is
potential for significant
variation in much of the
phonetic detail of the
spoken version of
example (1). For instance,
many speakers of English
will not sound in
connected speech the ‘t’s
of both ‘That’ and
‘potplants’, but will
instead use ‘glottal stops’
in these positions. This is
largely a consequence of
the phonetic
environment in which the
‘t’ occurs: in both cases it
is followed by a /p/
consonant and this has
the effect of inducing a
change,
known as a ‘secondary
articulation’, in the way
the ‘t’ is sounded .
Whereas this secondary
articulation is not
necessarily so
conditioned, the social or
regional origins of a
speaker may affect other
aspects of the spoken
utterance. A major
regional difference in
accent will be heard in
the realisation of the
historic <r> – a feature so
named because it was
once, as its retention in
the modern spelling of a
word like ‘over’ suggests,
common to all accents of
English. Whereas
this /r/ is still present in
Irish and in most
American pronunciations,
it has largely disappeared
in Australian and in most
English accents. Finally,
the articulation of the
‘ing’ sequence at the end
of the word ‘knocking’
may also vary, with an
‘in’ sound
indicating a perhaps
lower status accent or an
informal style of delivery.
maggie and milly and molly
and may
(deviation)
This lyric has a nursery
rhyming, song for little
children. So there is ample
use of alliteration. It helps in
creating rhythm and music
suitable for a table for
example:
i. maggie and milly and molly
and may
ii. so sweetly
iii. stranded star
iv. five languid fingers
v. blowing bubbles
vi. a smooth round stone
At the phonological level,
there are many examples of
rhyme, end rhyme, and
internal rhyme. ―may-day,
stone-alone, me-sea‖.
There is a pattern in stressed
and unstressed syllables
correspondingly referred to
as the ‘ictus‘ (/) and the
‗remiss‘ (x). The basic foot in
this poem is iamb with some
variations,
e.g.:
/x/x/x/
maggie and milly and molly
and may
There is a repetition of the
conjunction ‘and‘ which gives
'ise to a typical rhythm found
in children‘s song. The
number of syllable line-wise
is 1-2-9-3
The number of syllables in
many lines is similar so it
helps to create rhyme. Thus,
all these devices help create
nursery rhyme flavor which is
thematically blended with the
tone of the moral fable.
“A Kite for Aibhín”
This lyric has a nursery
rhyming, song for little
children. So there is ample
use of alliteration. It helps
in creating rhythm and
music suitable for a table
for example:
i. maggie and milly and
molly and may
ii. so sweetly
iii. stranded star
iv. five languid fingers
v. blowing bubbles
vi. a smooth round stone
At the phonological level,
there are many examples of
rhyme, end rhyme, and
internal rhyme. ―may-day,
stone-alone, me-sea‖.
There is a pattern in
stressed and unstressed
syllables correspondingly
referred to as the ‘ictus‘ (/)
and the ‗remiss‘ (x). The
basic foot in this poem is
iamb with some variations,
e.g.:
/x/x/x/
maggie and milly and molly
and may
There is a repetition of the
conjunction ‘and‘ which
gives 'ise to a typical
rhythm found in children‘s
song. The number of
syllable line-wise is 1-2-9-3
The number of syllables in
many lines is similar so it
helps to create rhyme.
Thus, all these devices help
create nursery rhyme flavor
which is thematically
blended with the tone of
the moral fable.
Examples:  Cart-horse
cart (p5)  Well-born (p5)
 Box-stall (p13)  Water-
mill (p15)
Stylistic Analysis of the LEISURE
Stylistic Analysis of Anna A Stylistic Analysis of a HARLEM In Just-
Short Story ‘The Last Stylistic Analysis of The BY
Swell’s “BLACK BEAUTY”: Philippine Essay, “The BY BY
Word’ by Dr. Voice HENRY WILLIAM
A Poetic Prose Will of the River” LANGSTON HUGHES EE CUMMINGS
A. R. Tabassum DAVIES
Alliteration Anna Swell has exploited Mental activities and The third line rhymes Rhyme Scheme
The repetition of initial different literary devices exact feelings of with the fifth line The end rhyme
consonant sounds in to create a particular characters are described (sun/run), the sixth line scheme in the first
closely occurring words aesthetic appeal in her through phonological rhymes with the eighth couplet of the poem is
is called alliteration. anthropomorphic and features in the story “The line (meat/sweet) and “aa”. End rhyme
The text under study autobiographical memoir Voice”. For example, the tenth line rhymes scheme in the second
displays of horse "Black Beauty".  Onomatopoeia is applied with the eleventh line couplet is ‘’bb’’. In the
numerous instances of Sound Repetition: It is one in the description of “The (load/explode). These third couplet is ‘’cc’’. In
alliteration. of the outstanding Voice” to make it clear are the masculine the fourth is ‘’dd’’. In
‘……and here is my features of "Black Beauty". and lively. rhymes. The rhyme the fifth couplet is
dusty shirt smeared Almost on every page, “Morgan”! He said in a scheme of the poem is ‘’ee’’ etc. This can be
with sweat and dirt.’ there is more than one low voice. Then he called abcdcefeghh. There is a observed with
‘Why has sweat dried example of sound out more loudly repetition of the examples from the
suddenly on your repetition. This is in-form “Morgan”! consonant sounds in poem.
forehead?’ of alliteration and the beginning of words
‘During the last assonance. At least one In this sentence by in some poetic lines, Care, stare
watches of the last example from every page speaking slowly and such as /d/ in the words Boughs, cows
night while lying in my will be put forward.  The loudly respectively, “dream/ deferred” in Light, night
dark room….’ repetition of sounds in feelings and mental the first line, /d/ in Glance, dance
‘Then she smiled and different names in the condition of Lewis is “Does/dry” in the Can, began
said to me:’ novel creates a very shown. second line, /s/ in
‘You are exactly what I unique impact on the I am falling. Help me. “syrupy/ sweet” in the Alliteration
wanted you to be.’ mind of the readers. On Shouted Lewis in terror. eighth line and /l/ in The same sound in the
‘….the nightingale sang the other hand, sound “Morgan”! He shouted, “like/load” in the tenth beginning of the words
a sweet and melodious repetition creates a “Can you hear”? line. It is known as in a line is alliteration.
song. musical effect in this text alliteration. Such words The sound of‘s’ in the
‘………beauty of my and makes text of the Here „shouting‟ are known as start of words
man. novel just like poetic represents Lewis‟ fear. alliterative words. We produces a beautiful
‘……the lovely drops of prose.  "Rob Roy" (p9)  How did you get in! can notice the initial effect on readers.
dew…… "Black Beauty"(p16)  Lewis said sharply from consonant cluster /dr-/
“And the dark and "Gray Grant or Governor the whole. in the word “dream”, Stand and stare
stormy night is drawing Grant /st-/ in the word “stink” The use of alliteration
nigh…….’ „Sharply‟ represents and /sw-/ in the word is in second couplet in
Assonance Assonance Lewis‟ rage in this “sweet”. We can also the form of ‘’b’’ sound.
is the repetition of Expression such as on sentence. note three words that Beneath the boughs
similar vowel sounds in page 25, 16 and 7 serve as „Haven‟t you ever felt retain the final Other alliteration of
closely occurring an effective onomatopoeia rotten with fear‟, said the consonant cluster such ‘’s’’, ‘’h’’, ‘’w’’ sounds
words. Following which adds color to the old man calmly. as /-nz/ in “happens”, /- in this poem are as
instances of assonance beauty of text and Swell's nk/ in “stink” and /-gz/ under:
are found in the text. style.  "snappish and Here, „calmly‟ shows in “sags”. There are Stare- sheep
…..and here is my dusty suspicious" (p26)  "will do Morgan‟s inner forty monosyllabic Her-how
shirt smeared with very well with"(p27) satisfaction. Pritchett words, eleven disyllabic When-woods
sweat and dirt. “And  "day by day, whole by applies other words. Enrich- eyes
the dark and stormy whole"(p28)  "still phonological features like Streams- stars- skies
night is drawing strained on the assonance, consonance, Stand- stare
nigh…….’ 5.2.3 saddle"(p29) alliteration and repetition
Consonance There is etc to beautify his work. Assonance
repetition of ‘s’,‘t’ and  Sound Elision: In this Consonance is the The repetition of
‘d’ sounds in these process writer often omits repetition of consonant vowel sound in poetry
lines. …… his skin is a unit of sound or even sounds at the end of the is assonance. The
sunburned. ‘……and syllable to create certain words in a sentence. For assonance gives a
here is my dusty shirt literary effect which example, rhythm to the poem.
smeared with sweat satisfies aesthetic sense of Men have been striking For example, what is
and dirt.’ ‘Why has readers. Swell has their lives working and this life, in this line ‘I’
sweat dried suddenly exploited this sound digging for hours. sound is repeated as
on your forehead?’ device to achieve her assonance.
5.2.4 Rhyme “Then she In this sentence \η\ is
aesthetic goals.  "I don't
smiled and said to me: repeated thrice. It‟s a Consonance
know" (p35,7)  "I don't
You are exactly what I consonance. W’S”T are repeated
believe" (p21,26)  "but
wanted you to be.” The Tick-lock of the consonants which
'twas all for me"  "I don't
word went on. shows the limitedness
think"(p14)
of the poet.
\k\ is consonance in this Repetition: It is a
 Elongation of sounds: statement. Consonance literary device which
This device has also been \t\ is repeated. shows the same words
used for emphasis such as Alliteration is a repetition a few times to make a
at page 7;  of initial consonant thought visible. There
"yo!yo,o,o!yo,o,o!" sounds in two or more is repetition of No time
words in a sentence. For to sound seven times.
example, The poet again and
For vestry curtain or again puts focus of the
carpet at the communion reader on particular
rail. word. There are seven
couplets and all these
\k\ sound is alliteration have repetition of No
as it is repeated thrice. time to sound.
They‟re having a ruddy
row. Metrical Composition
The meter is iambic
\r\ sound is repeated tetrameter i.e. most
twice in this sentence, lines have four strong
it‟s also alliteration. beats (tetra meter)
He found himself and start with a week
handing by both hands (iambic) one.
over the pit.
For example: And
\h\ as alliteration, STARE as LONG as
repeated three times. SHEEP or COWS
The rescue workers
were digging again.
 \w\ is alliteration in this
sentence.

Stylistic Analysis of the LEISURE

maggie and milly and molly
LEVELS OF That puppy’s knocking
and may
LANGUAGE over those potplants!
(deviation)
MORPHOLOGICAL Certain of these The words used in this poem
morphemes, the ‘root’ are those which figure in
morphemes, children‘s language or
can stand as individual domain. They are related to
words in their own right, the toys or for which children
whereas others, such as have attraction. So they
prefixes and evoke the world of children
suffixes, depend for their and their interests. These can
meaning on being be treated as words of a set
conjoined or bound to of their associated words or
other items. Thus, collocated words. For
‘potplants’ has three example:
constituents: two root
morphemes (‘pot’ and ―Beach – sea – standed –
‘plant’) and a suffix star – shell – sing – horrible
(the plural morpheme thing – round stone – bubbles
‘s’), making the word a – blowing- Sang-not
three morpheme cluster remember troubles,
befriended- chased.‖
All these are the words from
a set. They create or evoke an
atmosphere at the sea-beach
and how children help
themselves and meet their
interests, the use of too many
‘ands‘ in the first line of the
poem cannot go unnoticed. It
distinguishes the four people
at the same time also groups
them.
Stylistic Analysis of Anna
Short Story ‘The Last Stylistic Analysis of The
“A Kite for Aibhín” Swell’s “BLACK BEAUTY”:
Word’ by Dr. Voice
A Poetic Prose
A. R. Tabassum
V.S Pritchett has created
new words from existing
ones through word
formation. For example,
Worldly from world.
Nearest from near.
Three types of word
formation are found in
this story; 3.6.1 Affixation
It is the formation of new
words by joining free
morphemes and bound
morphemes. For
example,
Quietness (suffix;
„ness‟)
Dryly (suffix; „ly‟)
Unwound (prefix; „un‟)
Unlike (prefix; „un‟)
Unmistakable (prefix;
„un‟ and suffix; „able‟)
Unfrocked (prefix; „un‟
suffix; „ed‟)
3.6.2 Compounding
Compounding is to
combine free morphemes
to make new words. For
example,
Eyelashes
Bookmaker
Clergyman
A Stylistic Analysis of a HARLEM
Philippine Essay, “The BY
Will of the River” LANGSTON HUGHES
Most of the words
exploited in this poem
are root words such as
“dream”, “sun”, “run”
“meat”, “load”, “sugar”
etc. Some words are
formed with the help of
inflectional suffixes (-es,
-s, and -ed ). The words
are “happens”, “does”,
“deferred” and “sags”.
STOPPING BY THE
BY
WOODS IN THE SNOWY
HENRY WILLIAM
EVENING
DAVIES
The poem contains a lot The structure of words
number of both free in the poem is very
and bound morphemes. simple. All the words
Mostly used are the in the poem are almost
free morphemes while monosyllabic, except
less used bound four disyllabic words.
morphemes are in the
form of suffixes. Monosyllabic words:
Suffixes are in the form This, what, care, stare,
of plural nouns, the sheep, dance, boughs,
different forms of verb full, wait etc.
and adverb. There are
two kinds of affixes; Disyllabic words:
derivational and Beneath, squirrels,
inflectional. Woods, daylight, beauty.
darkest, gives, bells,
promises, miles and What’s more every line
stopping are inflectional of the poem almost
while frozen, sound’s, has the several
lovely and before are numbers of words. It
derivational. Allomorph is: 8,8,7,8,8,7,7,8,7,8,8,
sounds present in in each line etc.
bound are of ‘s’ and ‘z’.

3.6.3 Hyphenation
Hyphenation is formation
of new words by joining
free morphemes through
hyphens. For example,
He-goat
Cake-walk
Tick-tack

Stylistic Analysis of the LEISURE

maggie and milly and molly In The Rain A Stylistic Analysis of a HARLEM
LEVELS OF That puppy’s knocking Short Story ‘The Last Stylistic Analysis of The BY
and may “A Kite for Aibhín” BY Philippine Essay, “The BY AN ODE TO DEATH
LANGUAGE over those potplants! Word’ by Dr. Voice HENRY WILLIAM
(deviation) E.E. CUMMINGS Will of the River” LANGSTON HUGHES
A. R. Tabassum DAVIES
SEMANTIC A truth value specifies In the story, many figures The classified adjuncts In the poem “Harlem” An Ode to Death‖ by Synonyms
the conditions under E.E. Cummings uses of speech are used to in the initial positions the poet’s principal Kamal is a significant
which a particular Metaphorical language to accomplish the semantic facilitated in the issue is “what happens poem about Word: Leisure
sentence may be highlight the beauty of expressions. analysis of the meaning to a dream deferred?” the ultimate reality of Synonyms: spare time,
regarded as true or false. his mistress. There are Personification is a typical of the essay. He employs rhetorical life and death. The free time, liberty, ease
For instance, in this many examples of rhetorical device in fairy questions, simile, meanings used in
(admittedly hypothetical) metaphor “In The Rain”: tales. In this story, the The essay opened with metaphor and images thepoem will be Word: stare
sentence, the pigeon just symbolizes a locative prepositional to suggest the answer. analyzed semantically in Synonyms: gaze, gape,
lexical item ‘puppy’ the holy the omen of release. phrase function as a All these items reflect this assignment. gawk, glare, gawp
commits the speaker to city which is your face Furthermore, Pritchett subject of the sentence. the negative and
the fact that a certain these lines are the also applies similes and As a subject, it does not derogatory aspects that DENOTATIVE MEANING
type of entity example of metaphor. metaphors excessively function as an can be observed in life It is connected with the
(namely, a young canine which make the language adverbial. It fulfills a unless the dreams are surface
animal) is responsible for Your little cheeks the diversified and beautiful. syntactically nominal fulfilled. Dry, fester, meaning which the
the action carried out. streets Here lists some examples function. But since it run, stink, crust, sags lexemes of ―An Ode to
Other Of smiles excerpted from this story answers the question and explode are the Death denote. The
terms, such as the to illustrate the similes where it denotes a major verbs which poem is about the
superordinate items ‘dog’ Another example of and metaphors. semantically adverbial connote bad and bitter eventual veracity of life
or even ‘animal’, would metaphor is in third 3.5.1 Similes function. It expresses feelings African- and death. The poem
still be compatible stanza: It was destroyed like a circumstance. (4) [BY American people are records one‘s
in part with the truth “your eyes half- decayed tooth. MY WIFE’S ancestral experiencing in their journey from the cradle
conditions of the thrush A voice like a tree. home] flows a river. life. to the grave. As the
sentence. half angel” He was scratching like a The subject of the poem‘s title suggests,
dog or a rabbit. clause itself identifies Symbol the ode is a kind of
He achieves great Small man grubbing like the location of the river Symbol is an object, lyrical poetry that
benefits from poetic a monkey. in the essay. According animate or inanimate, indicates the inner
language. Usually to Busse (2012), a by which represents or feelings of the poet and
metaphors of ‘city’ and 3.5.2 Metaphors Lewis my construction is ‘stands for something the inner workings of
‘street’ are not used in calls Morgan “devil” lexically primed else’. The word his mind. Written in a
poetry to describe the again and again. „Devil‟ is because “the persons, “dream” employed in lyrical form, the poem
beauty of mistress. But metaphorically used here concepts or things this poem is highly creates a rhythmic and
he does this and gives a to show Lewis‟ biasness referred to are usually symbolic. It symbolizes musical pattern. The
very unique touch to his against Morgan. held high in high a hope, a wish, a goal or poem focuses on the
poem. Thrush is a singing esteem by the speaker. an inspiration. The poet‘s attitude towards
bird he puts the word Also, they are thought fulfillment of the dream death. To convey his
‘half’ with it and makes a to be appreciated by is essential to reach a experience about life
new word which is used the hearer” (Hoey, 2005 certain level of self- and death in a subtle
as a metaphor by the in Busse, 2012 p.302). actualization. way, the poet uses
poet to describe the This said construction simple and formal
beauty of her beloved’s seems to tell us that the diction. For the sake of
eye. He treats ‘halfangel’ river is very significant convenience and the
in a same way to to the narrator. achievement of
describe the beauty of Essentially, the denotative meaning,
her lips. The beauty of succeeding clauses of the poet employs
her beloved’s hair is the essay show initial several words from his
described as sweet shy position adjuncts of poem with denotative
pirouette which is also
very unusual because
‘pirouette’ is a part of
dance.
Hyperbole is the figure
of speech used to
exaggerate. Hyperbole is
used by E.E Cummings
to exaggerate the beauty
of his mistress. He calls
the eyes of her mistress
half-angel and half thrush.
circumstance time
providing more
information of time
duration and temporal
position that make the
narration of the author
vivid.
(5) [For a dozen
summers] I have visited
it, and almost every
year I make an effort to
trace its course back to
its source in the
neighboring hills; I do
not consider my
vacation there complete
without doing this. (6)
[But] [this past summer]
I saw something I had
never seen before,
though I know that if I
had been sufficiently
observant in other
abnormally dry years, I
am sure I could not
have failed to notice the
same thing earlier
Circumstance time
duration in the initial
position in (5) informed
the reader of the
number of times the
speaker has visited the
river. The lexicon
summer in the
Philippines usually
refers to either in the
month of April or May
where most Filipinos
have their vacation by
spending it to some
beautiful destinations
or visit their relatives in
the provinces just like
what the narrator did in
the essay. The duration
of time suggests not
only the fondness and
value of the river to the
narrator but also its
deep familiarity with
him. EVIDENTLY, the
narrator has known the
river for so long. Initial
adjuncts in (6)
contribute to cohesion
by being anaphoric
through the repeated
word such as summer
that exemplifies
cohesion of the text.
Significantly, the author
has effectively woven
the events using linking
adverbials which are
important devices for
creating textual
cohesion (Biber et al.,
1999). The author
employed them to
organize and connect
long stretches of
clauses and to help
readers follow the
preceding discourse. In
the essay, most
occurrences of this
classification are
conjunctions which
introduce another
context with their
pragmatic meaning
while others retained
their semantic
meanings. They
function as linking
adjuncts as shown in
the following lines in
the essay: (23) [But]
[this past summer] I
saw something I had
never seen before…
(24) [But] [where we
stood at the moment]
there was no water to
be seen. (25) [And]
[yet], [continuing our
way into the hills], we
found the river grow
reference, such as
―archipelago and
―anchorage. The two
words, as well as many
others used by the
poet, do not have any
meanings other than
the denotative
meanings which they
represent.
CONNOTATIVE
MEANING
Regarding the
connotative meaning
which the poem is
replete with, it is
concerned with the
suggestive meaning
which the poet seeks to
impart to his readers
through his
employment of
many figures of speech.
The poem exhibits
Kamal‘s pessimistic
approach to the
hovering image of
death which affronts
every human being.
In a manner
reminiscent of T. S.
Eliot‘s frequent use of
allusion as a literary
device, Kamal quotes
Conrad Aiken‘s line
-Your ode to death is in
the lifting of a single
eyebrow. Lift it and see-
to draw a comparison
between the shortness
of life and the brevity of
time and the short
period during which
one lifts his eyebrow.
Here, Kamal resorts to
connotative meaning to
provide the reader with
an image that portrays
the transience of life,
which is more easily
and appreciatively
conceived by the reader
than when stated
denotatively.
Like T. S. Eliot‘s highly
allusive poem in which
he quotes many past
authors to compare
between the spirituality
of the past generations
with the materialism of
the twentieth century
people, Kamal quotes
the first line -Death is
more than certain- from
one of E.E Cummings
poems to call attention
to the materialistic
features of modern
people. Considering
Kamal‘s lines
-Death is more than
certain, says E.E.
Cummings,/But the
clocks go on ticking as
before - one can clearly
see how the poet
emphasizes the
inevitability of death by
drawing an analogy
between the continuity
of life and the
permanent striking of
the clock. Like the clock
which strikes
incessantly, life goes on
everlastingly. For Kamal
although life is durable,
it will be brought to a
halt by death. For
Kamal, too, the exact
time of death is
anonymous despite the
certainty of death. The
use of the 'clock' by the
poet materializes the
notion that death is
inescapable.
Stressing the possibility
of hope (dreams) in
deeper… (26) [But] such a harsh,
Bacong - because that is materialistic world in
the name of our river which people are on the
determined to reach fringe of giving up the
the sea… (27) [And] hope of a better life,
[then] I thought of Kamal optimistically
human life. (28) [But] I sees that
thought most of all of
those who, like our And in every particle of
river… (29) [On the carbon dust
other hand], think of There lives a diamond
other lives that, … (30) dream
[And] what is the duty
of a river? (31) [For] Significantly, although
part of the ministering carbon dust is no more
duty of a river is to flow than carbon particles, it
on and on… (32 [And] more than often
does this not suggest contains diamond, the
that the river of man’s most precious metal in
life should be likewise? the world. In a like
(33) [For] [if in the face manner, although life
of obstacles] it lacks the involves many terrible
strength… (34) [For] and inexorable
Bacong was able to experiences, it is still
carry on… full of lovely things that
make one stick tightly
to the pleasures life.
The dreams that people
still have are what
make life tolerable,
despite its hardships. In
this regard, Kamal uses
two images in the
following lines in order
to assert the possibility
of dreams in world in
which people no longer
look forward to any
beams of hope:

How many galaxies yet

to be explored
How many seeds in the
pomegranate of time?

The first image, that of

galaxies, which is used
by Kamal to emphasize
the notion that dreams
are as numerous as
galaxies. In addition,
just as many galaxies
have not yet been
explored, most of
people‘s dreams and
desires lie dormant and
need to be achieved.
Here galaxies symbolize
ones‘ dreams and
desires. Regarding the
second image, it is
related to the seeds of
the pomegranate. Here
the poet uses the seeds
of pomegranate to
stand for the countless
dreams that one has in
life. Like the
numberless seeds
inside a pomegranate,
there are many
numberless dreams and
desires that are yet to
be explored. Again, the
seeds of pomegranate
symbolize one‘s dreams
and ambitions.
However, what does
Kamal mean by the
pomegranate of time?
Or what is the relation
between pomegranate
and time? The plausible
interpretation seems to
be that time, like a
pomegranate, is a
limited entity. Although
a pomegranate has
many seeds, yet these
seeds cannot
proliferate because of
its restricting, outside
cover which allows no
more seeds to grow.
Likewise, although time
involves countless
years, yet it will come
to an end someday,
owing to death. This
means that man will not
be able to achieve all
his dreams because of
the mutability of his
life. Kamal proceeds
with his use of images
throughout the poem in
order to shed light on
the mutability of life
and the unavoidability
of death, as it figures
clearly in the following
lines:

The pine tree blasted by

last year‘s Thunderbolt
And the burn out match
stick in my ashtray
Look so terribly alike
I have sat by your
bedside and felt
Your sinking pulse.

The poet, as the above

lines show, draws a
comparison between
the short life of a pine
tree and the match stick
and the brevity of one‘s
life. The image here
makes it clear that just
as the pine tree and the
match stick are
perished by thunderbolt
and burning
respectively, man will
cease to live, however
long he might exist. This
is a positive proof of the
mutability of life and
the unavoidability of
death.

The inevitability of
death is the lot of every
mortal, including the
poet‘s beloved. As the
poet admits, he is
witnessing poignantly
the death of his
beloved. Moreover, the
close intimacy between
them enables the poet
to feel her fading
pulses. Yet, he has to
accept willy-nilly the
unpreventable death of
his beloved, firmly
believing that death is
an undeniable reality.
Certain that terrestrial
life will soon come to
an end, the poet admits
that any mortal will
become ashes in his
grave. This kind of life,
as the poet thinks,
contradicts with the life
in the hereafter, where
there is no room for
death.

How long does it take

for the eyes
To dissolve in the
grave?

The employment of
connotative meanings
figures once again in
the poem when Kamal
quotes the following
line from Sylvia Plath:

I have seen the ―stars

plummet to their dark
addresses

The falling stars suggest

the death of all mortals,
including those who are
very close and dear to
Plath. Plath, as well as
Kamal, believes strongly
that death is the fate of
human beings just as
falling is the ultimate
end of stars. This
eventually means that
all creatures are
doomed.

LEVELS OF That puppy’s knocking
LANGUAGE over those potplants!
SYNTACTIC from morphology takes
us into the domain of
LEXICO-GRAMMAR language organisation
known as the grammar,
or more appropriately
perhaps, given that both
lexis and word-structure
are normally included in
such a description, the
lexico-grammar.
Much could be said of
the grammar of this
sentence: it is a single
‘clause’ in the indicative
declarative mood. It has a
Subject (‘That puppy’), a
Predicator (‘ ’s knocking
over’) and a Complement
(‘those potplants’). Each
of these clause
constituents is realised
by a phrase which itself
has structure. For
instance, the verb phrase
which expresses the
Predicator has a three
part structure, containing
a contracted auxiliary
‘[i]s’, a main verb
‘knocking’ and a
preposition ‘over’ which
operates as a special kind
of extension to the main
verb. This extension
makes the verb a phrasal
verb, one test for which is
being able to move the
extension particle along
the sentence to a
position beyond the
Complement (‘That
puppy’s knocking those
potplants over!’).
maggie and milly and molly
and may
(deviation)
Note the grammatical
deviation in line11 ―Like a
you or me‖ (misclassification-
word of one class for
another) here the personal
pronouns turn up as heads of
noun phrases. See also the
deviant syntax in the use of
‘alone‘ as an object of
comparison.
―As small as a world and as
long as alone‖. Notice the
deviation in the following
line:
―Whose rays five languid
fingers were‖ (dislocation).
These two examples of
fragmentation/ parenthesis
placed in bracket, e.g. (to play
one day); like a you or a me).
The use of the indefinite
article ‗a‘ modifying
pronouns ‗you‘ and ‗me‘ as
in like a you or a me. It
suggests anyone in the world
in a novel manner.
In line no. 3 and 4 there is a
case of syntactic elaboration
e.g. and Maggie discovered
“a shell that sang so sweetly
she couldn’t remember the
troubles”.
There are many cases of
parallel structures:
1- Maggie discovered a shell
S.V.O
2- She couldn‘t remember
the troubles S.V.O
3- Milly befriended a
stranded star S.V.O
4- We loose S.V.
5- We find S.V.
Stylistic Analysis of the LEISURE
Stylistic Analysis of Anna A Stylistic Analysis of a HARLEM
Short Story ‘The Last Stylistic Analysis of The BY
“A Kite for Aibhín” Swell’s “BLACK BEAUTY”: Philippine Essay, “The BY
Word’ by Dr. Voice HENRY WILLIAM
A Poetic Prose Will of the River” LANGSTON HUGHES
A. R. Tabassum DAVIES
The story contains various The syntactic features of THE PHYSICAL “Harlem” is a succinct Lexical item belongs to
parallel structures. The the story are of both STRUCTURE poem written in free the distinctive
story contains parallelism types, short as well as verse. All the poetic language user and
The essay consists of 15 lines except the ninth language use in this
on the phonemic, word and long. The shortest
paragraphs with 53 and tenth lines are in poem. The poem is
syntactic levels. Anaphora sentence in the story is
sentences and 1,356 active interrogative divided into multiple
occurs where many only of one word; for
words. The highest sentence patterns. lexical features.
successive clause or example,
number of words in a These two lines form an
sentences start with the
“Morgan”. paragraph is 229 which affirmative sentence Nouns: All nouns are
same word or clause. pattern. The first common. E.g. Life,
occurred in the last
Following instances of question commences time, boughs, sheep,
paragraph. It also has
anaphora and parallel with a wh-word which woods, skies, cows.
Longest sentence in the the greatest number of
syntactic structure are seeks the answers,
story is comprised of 65 sentences, and the
found in the text, which are whereas the other Verbs: Care, stand,
words. For example, lowest number of
in big proportion if we questions begins with stare, see, pass.
words is 22 which an auxiliary verb
consider the total length of But this did not prevent occurred in the 9th
“Does”. The fourth, Adverbs: Beneath,
the story. the old man with saintly
paragraph, the only seventh and eleventh where, when.
white head and the eyes
“Here is my shovel, here is paragraph which lines begin with “or”
half closed by the worldly
my basket, and here is my juices of food and wine, contains only one that makes the poetic Adjectives: Full, broad,
dusty shirt smeared with for walking about dressed sentence. lines condense, while poor.
the third, eighth and
sweat and dirt.” in his vestments, like an
ial adjunct adverbials tenth lines instigate In most part of this
actor walking in the sun
“Why have you dropped including the adjuncts with “like” as a poem are fragments,
of his own vanity, a hook-
your scythes from your that appear in series in connective word for except two full
nosed satyr, a he-goat
hands in despair? Why has significant to servant a clause. Thirteen out linking the deferred sentences, and the
sweat dried suddenly on girls, the crony of the of fifteen paragraphs dream with different middle four stanzas
your forehead? have initial position noun phrases. The can be looked as the
public-house, the chaser
adjuncts which include second and sixth lines continuous parts of
Why have you turned of bookmakers, the
coordinating begin with “Does”. The the continuous
pale?” smoker of cigars. lines which commence adverbial clause. So, in
conjunctions
with the same word are this way it can bring
“His body is disfigured with It is a combination of functioning
called the anaphoric emphasis to this part,
bruises and wounds and his narration and dialogues. semantically as
lines. The frequently and also make a deep
heart is bleeding. His hair is The story opens with adjuncts. The highest
repeated construction impression on readers
unkempt, his face is not narration and further number of adjuncts is in
in this poem is the of what we have lost if
given a continues in both the the last paragraph in prepositional phrase we care too much but
narration and dialogues. which the number of such as “like a raisin”, do not stand and stare.
wash and his skin is
The language is a bit occurrences is almost “like a sore”, “like
sunburned.” difficult and not easy to one-fourth of the total rotten meat”, “like a
Worry you not if the way is be understood. It is initial adjuncts while syrupy sweet” and “like
long and full of uncertainty, featured by a formal the second higher in a heavy load”. It is
known as parallelism.
the night is dark, and I style. Complex phrases, number occur in
disfigured and weak.” clauses and sentences are paragraph 2 with half of
used frequently. the total and 12 have
“I moaned. I screamed.” the third highest
“She paused. She number of occurrences
pondered.” with the same
distribution. The least
“I could not scan the dust occurrences are in
on your face, could not paragraph 1, 3, 6 and
gauge the depth of your 14 while single
wounds, could not hear the occurrences are
beats of your recognized in
paragraphs 7, 9, 11 and
aching heart, and could not
13. The syntactic
feel the bruises you had.”
realization of these
initial sentence
adjuncts ranged from
Repetition
single adverbs to
There is a lot of repetition adverb phrases, clauses
of certain phrase, clauses and coordinating
and words conjunctions. Most of
these series are a
Mates and friends! combination of single
I must depart from you word and phrase or
word and clause or
My sweetheart has called clause and another
me back. clause in a clause.
Besides the phrase and These series may affect
clauses mentioned above, the comprehension of
certain nouns are the readers on the
frequently repeated. These essay. In the essay, the
are: [ ] is used to show the
series of initial adjuncts.
Dust, bruises, wounds,
dark, storm, heart, despair, (1) [And] [yet],
night, sweetheart, beauty, [continuing our way
sun, garden, song into the hills], we found
the river grow deeper
Verbs like sigh, sobbed and and stronger than it
loved are also repeated was as it passed by our
time and again. Modal cottage. (2) [Verily], [if
auxiliaries must, will and a man derives his
should are also frequently strength and inspiration
used. from a low and feeble
source,] he will fail to
“arrive.”
 Stylistic Analysis of the
maggie and milly and molly Stylistic Analysis of Anna A Stylistic Analysis of a RESOLUTION
LEVELS OF That puppy’s knocking Short Story ‘The Last Stylistic Analysis of The
and may “A Kite for Aibhín” Swell’s “BLACK BEAUTY”: Philippine Essay, “The BY
LANGUAGE over those potplants! Word’ by Dr. Voice
(deviation) A Poetic Prose Will of the River” AUBREY LONGBOTTOM
A. R. Tabassum
DISCOURSE the use of a more The poem has no
generalised word like, punctuation. In this
say, ‘animal’ will have way, the poet depicts
exactly the same the housewife’s flow of
repercussions for the thoughts. In lines 3-15,
utterance as discourse. this creates a listing
effect that suggests the
In spite of its semantic
woman’s process of
compatibility, this less
planning related for her
specific term would desire for change. In
implicate in many lines 15-25, the poet
contexts a rather delineates the woman’s
negative evaluation by “state of mind”
the speaker of the entity overwhelmed with her
referred to. This type of present situation.
implication is pragmatic The unusual
rather than semantic capitalization of line 15
because it is more about reinforces her desire
the meaning of language juxtaposed against the
real situation depicted
in context than about the
in lines 16-25.
meaning of language per
The lineation of the
se.
poem is suggestive of a
Returning to the visual impression of a
semantic component of woman’s body. Looking
example (1), the at the poem in this way,
demonstrative words we can see the title as
‘That’ and ‘those’ express the hair, line 14 as the
physical orientation in waist, lines 15-24 as the
language by pointing to woman’s skirt, and lines
where the speaker is 25-27 her ankles and
situated relative to other her feet. The curve of
entities specified in the line 5 suggests
someone picking up
sentence. This
two children. Line 1-3
orientational function of
and 25-27 “tomorrow
language is known as will be different” are
deixis. In this instance, exactly the same both
the demonstratives in terms of wording and
suggest that the speaker lineation. This creates a
is positioned some circular effect that can
distance away from the be indicative of the fact
referents ‘puppy’ and that the situation
‘potplants’. The deictic depicted in the poem is
relationship is therefore a vicious circle. Hence,
‘distal’, whereas the a reader can ask the
parallel demonstratives question, “Will
tomorrow really be any
‘This’ and ‘these’ would
different?” Moreover,
imply a ‘proximal’
the way the title,
relationship to the “Resolution” is written
referents. reinforces this
question. That is, the
title indicates a
climactic point in the
housewife’s
determination that
becomes weaker as she
sees her real situation,
“by tonight it will be
alright”. In other words,
the curve of the title
suggests that her
resolution will never be
fulfilled.

Stylistic Analysis of the

maggie and milly and molly In The Rain A Stylistic Analysis of a (listen)
LEVELS OF That puppy’s knocking Short Story ‘The Last Stylistic Analysis of The CHARGE OF THE
and may “A Kite for Aibhín” BY Philippine Essay, “The BY
LANGUAGE over those potplants! Word’ by Dr. Voice LOGHT BRIGADE
(deviation) E.E. CUMMINGS Will of the River” E.E. CUMMINGS
A. R. Tabassum
LEXICAL The word ‘knocking’ also Open class words are Pritchett has used There are open class From the title of the
raises an issue in used which link the words complex and plentiful words such as dog, poem, as well as
lexicology : notice for together to create the words. The story is houses, spring, certain lines, the
instance how meanings whether they combination of common sunlight, streets, “light” in “The Charge
contemporary English are parts of speech. and uncommon words, dreams, etc which of the Light Brigade”
pronunciation no longer shorter and longer words. carry the majority of may mean two
NOUNS The shortest word is meaning in the different things. It
accommodates the two
Rain comprised of a single language of the poem could mean the types
word-initial graphemes
Darkness alphabet. For example as opposed to the of arms they carry; it
<k> and <n> that appear Sunset „A‟ and these are 86 in closed class words. could also be
in the spelling of this Face number. While the The poem consists associated with the
word. The <kn> sequence Cheeks, lips longest word is mainly of nouns and cheerfulness and
– originally spelt <cn> – Smiles, eyes, hair comprised of 13 alphabet verbs. The nouns are courage the troops
has become a single /n/ Streets i-e „Extraordinary‟ and it mostly concrete possessed on the
pronunciation, along with is present in the story for objects. Two of the battlefront. Aside from
equivalent occurrences in VERBS one time. Complex words nouns dreams and that, in lines 27, 29,
other Anglo-Saxon Sit like, miracle are abstract. and 35, one can see
derived lexis in modern Think Smouldering cloth, We can divide the the stark contrast
English like ‘know’ and Float nouns into two areas between the sabers of
Drowsy Decayed tooth, of meaning or the British and the
‘knee’. The double
Unfrocked priest. semantic fields. These guns and cannons of
consonant pronunciation
ADJECTIVES are nouns related to the Russians from the
is however still retained
Shy They are used to express nature and nouns choice of words:
in the vocabulary of related to humans. “stroke” and “flashed”
the themes of the story
cognate languages like ADVERBS The mixture of nouns for the sabers and
and inner mental
modern Dutch; as in Holy in two semantic “shot” and “shell” for
activities and feelings of
‘knie’ (meaning ‘knee’) or classes accounts for the guns and cannons.
characters. They also
‘knoop’ (meaning ‘knot’) This poem is comprised
it is perhaps the very mostly of nouns and verbs.
obviousness in the Physical as well as abstract
context of what the nouns are used in this
puppy is doing vis-à-vis poem e. g darkness.
the content of the
Related to human:
utterance that would
Face, cheeks, smiles, eyes,
prompt the addressee to
lips, kiss, hair
look beyond what the
speaker ‘literally’ says. Related to nature:
The speaker, who, Rain, darkness, sunset,
remember, is positioned flowers, star
deictically further away
from the referents, may The theme of the poem
also feel that this is fore grounded by the
discourse strategy is vocabulary items. There
appropriate for a better- are many love epithets
placed interlocutor to which highlight the love
theme of the poem.
make the required timely
intervention. Yet the
“Think of you”, “the holy
same discourse context
city which is your face”,
can produce any of a “your eyes half-
number of other thrush
strategies. A less half-angel and your
forthright speaker might drowsy
employ a more tentative lips where float flowers
gambit, through of kiss”
something like ‘Sorry, but
I think you might want to These are the words and
keep an eye on that lines which clearly
puppy . . .’. Here, indicate the love theme
of the poem. The poet
indirection serves a
is greatly benefitted by
politeness function,
poetic license. He uses
although indirection of many words to refer his
itself is not always the beloved and for showing
best policy in urgent his emotions which are
situations where generally not used in
politeness considerations that sense. He uses the
can be over-ridden metaphor of city for the
face of her beloved and
street for her smile. Her
treatment of metaphor
is very unusual. He
uses metaphor of thrush
and angel and adds the
word “half” with them
for her lips. Hair of her
beloved are called” sweet
shy pirouette” which is
very unusual.
There are examples of
Nonce Formation the
poem. He forms new
words with the
compilation of two
words. He uses the
words ‘half-thrush’ and
‘half-angel’. These words
are not regular words.
He coins these words to
show the beauty of her
beloved. These words
are only used once by
E.E Cummings and never
used again.
beautify the language of
story. For a few times the
writer has deviated from
the norms of language to
create the uniqueness
and newness in his work.
Three types of lexical
deviations are present in
the story. 3.3.1
Contraction Words are
contracted for the
economy of space and
time. This style is used
mostly in speaking but
Pritchett has applied it n
writing. For example,
They‟re, in the place of
„they are‟, shan‟t, in the
place of „shall not‟,
haven‟t, in the place of
„have not‟, wouldn‟t, in
the place of „would not‟
can‟t, is used for
„cannot‟, it‟s, is used for
„it is‟ who‟s, is used
instead of „who is‟, and
you‟ve has used for „you
have‟. 3.3.2 Neologism
Neologism is the
formation of new words,
which are used for the
first time in a text and
not applicable in the
language normally.
Pritchett has neologized
three such words:
Tick-lock,
Alter-table,
Cake-walk.
3.3.3 Functional
Conversion In functional
conversion, noun is used
as a verb or a verb is used
as a noun. Example of
functional conversion of
this story is
“Caked on his face”
Here, word „cake‟ that is
noun is used as a verb,
though there could be
used word “flowed” in
place of caked. But writer
has preferred „caked‟ to
give rich expression.
an interconnection If you notice, the
between nature and words “volleyed” and
man. “thundered” are more
The verbs in the likely associated with
poem create a sense the bullets and guns of
of immediacy; they the enemy since
also contribute to our “volley” denotes the
understanding of it as projectile of arrows or
an address to another bullets and “thunder”
person. All the verbs is linked to a loud and
which are marked for booming sound. In
tense are in the addition, from the
present tense. For contrast, we can see
example ‘barks’ in line the apparent shift of
2, ‘is’ in line 19 and meaning of the guns.
‘arrives’ in line 24. In line 6, “guns”
There are also present suggest a challenge or
progressive forms such call to war. However,
as ‘are (eagerly) as the poem
tumbl/ing in lines progresses, the guns
(6/7/8) and o-p-e-n-i-n- have another signifier
g/are (12/13). The – “cannons, “ which
progressive present reflect the reality of
participles (‘tumbling’ death in the battle.
and ‘opening’) indicate The figurative choice
the stretched of words such as
character of the personification is
actions. It contributes noticeable in the
to the idea of the poem. The author, in
inevitability of nature. “Valle of Death” in
This is also reinforced lines 3, 7, and 16, gave
by the use of “Death” jaws in lines
adverbs; ‘quickly’, 24 and 46 of the
‘crazily’, ‘eagerly’, ballad. This most likely
‘irrevocably’, which seemed like a
convey a sense of reference to a
speed and inevitability. powerful lion because
We could sense that an encounter with one
the poem is an would mean
address to someone immediate death. In
through the use of addition, “Death” is
directive verbs like also a personification
‘listen’, ‘come’, ‘run, of the “Grim Reaper,”
jump’, ‘shout’, ‘laugh’, a phrase that first
‘dance’, ‘cry’, ‘sing’ appeared in the
etc. The addressee is Oxford English
invited to join in, with Dictionary in 1847,
the speaker’s seven years before
celebration of Spring, Lord Tennyson wrote
and to share in, and the ballad. Moreover,
contribute to, his from the literary text,
feelings of happiness. we can infer that the
In the final stanza, personal pronoun “he”
there is a second in line 6 of the ballad
person pronoun ‘you’ must pertain to
in line 26. This someone of great
addressee is referred authority – someone
to as ‘my darling’, great enough to
which suggests a command the infantry
romantic relationship in battle – the general.
between the speaker What is the
and whomever he/she antecedent lf the
is addressing. There objective personal
are no unusual words pronoun “them,”
or neologisms in the which was repeated
poem. But, some of three times in line 18-
the words are 20? Based on textual
arranged on the page evidence such as the
in a seemingly strange phrase “six hundred”
order. ‘Tumbling and found in lines 8, 17, 26,
Wonderful’, for 38, 49, and 55 of the
instance run across poem, one can deduce
two lines and as a that “them” refers to
result, they are highly the cavalry or the Light
foregrounded. Dividing Brigade.
the word across the
morphemes (wonder
and ful) allows us two
interpretive effects.
We first read the
word as noun ‘wonder’
and then as the
adjective ‘wonderful’.
The graphological
deviation here
foregrounds the word,
and creates a double
meaning. Deviation is
an apparent feature in
‘(listen)’ and therefore
it is worth to examine
it into detail by
considering parallelism
and the foreground
effects that this also
creates.

maggie and milly and molly
LEVELS OF That puppy’s knocking
and may
LANGUAGE over those potplants!
(deviation)
FIGURES OF SPEECH 1- ―Its ourselves we find in
the sea (of life)‖ and
―whose rays five languid
fingers were‖.
These two lines are
metaphors, which mean an
implied comparison between
two things of unlike nature.
2-―as small as a world and as
large as alone‖
This line is a simile. Notice
the use of the word ―as‖ to
compare the likeness of the
size of the world. A simile is a
figure of speech by which one
thing, action, or relation is
likened or explicitly
compared, often with as or
like, to something of a
different kind or quality.
By mentioning an example of
stylistic analysis, one can
easily recognize the patterns
of alliteration, repetition, and
examine these patterns,
which contribute to meaning
and our interpretation of the
poetic contents and effects.
The next poem will enhance
the stylistic interpretation by
giving another style and
technique of another poet.
It is necessary to note that
diction is the choice of words
a poet uses to bring meaning
across. In working through a
poem, it is useful to question
why a certain word is used,
and what kind of effect is
achieved with the choice and
placement of the word.
Besides its implied meaning,
diction also adds to the mood
and attitude of a poem; the
choice of words may be used
to evoke a feeling in the
reader. Widdowson(1992:12)
has described poems as:
―Poems are uses of
language, but in many ways
they are peculiar uses of
language. Their meanings are
elliptical and elusive,
deflections from the familiar.
They seem often to be
perversely obscure in their
flouting of conventional
standards of clarity and
commonsense. They are
frequently eccentric in choice
of word and turn of phrase.
They are cast in curious
prosodic forms of rhythm and
rhyme, assembling language
not, as is usual, in sequence
but in parallel lines‘.
maggie and milly and molly
LEVELS OF That puppy’s knocking
and may
LANGUAGE over those potplants!
(deviation)
RHYTHM AND METER First of all, the rhyme scheme
of this poem is
AABCDDEFGGHH, so we can
easily notice that the lines (3-
4) and (7-8) break the
rhyming scheme of the poem.
There is also a kind of
parallelism between the two
lines (3-7), this is also right
between (4-8), these lines
end with (troubles, and –
bubbles, and
Stylistic Analysis of the
Stylistic Analysis of Anna A Stylistic Analysis of a HARLEM
Short Story ‘The Last Stylistic Analysis of The
“A Kite for Aibhín” Swell’s “BLACK BEAUTY”: Philippine Essay, “The BY
Word’ by Dr. Voice
A Poetic Prose Will of the River” LANGSTON HUGHES
A. R. Tabassum
Simile
Simile is a figure of
speech in which two
essentially dissimilar
are expressly compared
with one by use of like
or as. The poem is rich
in the use of simile. “A
deferred dream “ is
compared with “ a
raisin in the sun”, “ a
sore”, “rotten meat”, “
syrupy sweet with
crust” and “ a heavy
load” by using “like.”
“Does it dry up like /
like a raisin in the sun?”
Here, “dry up” implies
two aspects:
deteriorating condition
of the dream and the
loss of life –giving
moisture or natural
taste.” Or fester like a
sore-/ And then run?”
“Sore” suggests a
painful feeling. If a sore
is not treated in time,
pus will spread in the
body resulting in decay
and death. “Does it
stink like rotten meat?”
reinforces the idea of
decayed food with a
bad taste, and a
disgusting smell. “Crust
and sugar over- / like a
syrupy sweet?” hints at
the fact that if we leave
the syrup unused for
several days, it
becomes too hard and
the material is no
longer usable. Similarly
the dream forced to sit
idle hardens into an
unusable substance of
thought. “Maybe it just
sags/ like a heavy load.”
A heavy load makes
one walk heavily and
slowly, and makes him
clumsy as he tries to
move under the load.
The dream that is not
fulfilled may become
heavy to bear because
it weighs on his mind
with negative musings
resulting in depression
and lethargy.
Stylistic Analysis of the
Stylistic Analysis of Anna A Stylistic Analysis of a TREES A POSION TREE
Short Story ‘The Last Stylistic Analysis of The
“A Kite for Aibhín” Swell’s “BLACK BEAUTY”: Philippine Essay, “The BY BY
Word’ by Dr. Voice
A Poetic Prose Will of the River” JOYCE KILMER WILLIAM BLAKE
A. R. Tabassum
the language of the poem is RHYTHM All the verses of the
rather simple. The total I think I that I I shall poem have the same
number of the words in the ne I ver see I syllable pattern, so
poem is (143) words. This x / I x / I x that their meter is
poem has rather various / I x / I same and it has tetra
rhyming scheme, which is; meter. All the stanzas
RHYME SCHEME of the poem are also
(a,b,c,d,e,d,f,g,f,h,I,h,j….etc)
The rhyme scheme of rhymed.
Also, this poem consists of the poem is aa, bb,
cc, dd, ee, aa. This AABB AABB AABB
(6) stanzas and the last line
happens because the AABB
―The kite takes off, itself
final words of the
alone, a windfall‖. Each
first couplet have same
stanza consists of three
sounds (see, tree),
lines, which is called a
second couplet (prest,
triplet using free repletion breast), third couplet
the only answer is that to (day, pray), fourth
create a musical effect and couplet (wear, hair),
to emphasize certain point fifth couplet (lain,
rain),while the last
couplet has the same
 that the poet has in his sound with the first
mind. couplet (me, tree).

A Stylistic Analysis of
LEVELS OF Complexity in William
LANGUAGE Faulkner's

"A Rose for Emily"

COMPLEXITY OF Sentence Structure
SENTENCE
In this level the three types of
sentence are surveyed
throughout the whole story:

a. Simple sentences

Faulkner's intelligent
utilization of sentence type is
highly obvious in A Rose for
Emily. There are 60 simple
sentences

that are mainly functioned

for basically three purposes:

1- Change of ------- time, e.g.

act I sentences no. 11 & 26

------- point of view, e.g. act I

sentences no. 31 & 32

------- place, e.g. act III

sentence no. 4

2- Rapid happenings, e.g. act

III sentence no. 6

3- Miss Emily's relationship

with the people of her town
reflecting her dignity and
obstinacy, e.g. act II
sentences

no. 18 & 19

b. Complex sentences

Complex sentences include

Paratactic and Hypotactic
constructions. Paratactic
constructions are mainly used
in direct

speech, for instance, Act III

sentences no. 15 & 24. They
sometimes also refer to the
addition of something. The
total

number of paratactic
constructions is 66.

On the other hand there are

96 hypotactic constructions in
the story and Faulkner
functions them intelligently
to convey

his theme. Since the theme is

complex in nature, he needs
a complex (round) character
represented in Miss Emily
and

complex constructions
represented in the hypotactic
ones. Almost all hypotactic
and para-hypotactic
constructions are

used to describe the complex

psychological aspects of this
character. Faulkner uses this
complex structure as a type
of

technique to express man’s

position in the modern world.
The complexity of Faulkner's
narrative structures mirrors
the

complex lives we lead.

Concerning sentence length

as another face of
complexity, Faulkner uses
sentences that vary in their
lengths; however,

the majority of them are

lengthy ones. He exploits the
longest sentence no. 4 / ACT
 V which is complex of a
hypotactic
construction to declare the
climax. This sentence is
represented in table (5) in the
appendix as:
α˄β˄γ˄ε˄δ˄ζ˄η˄θ˄κ˄λ˄μ˄ν,
consisting of 129 words!
Complexity of sentence
structure and sentence
length are best shown in brief
in table (2) where the first
column
represent the act number,
the second the sentence
number, the third sentence
length, the fourth sentence
type whether
simple or complex, and the
fifth represents the sentence
complexity type. More
detailed tables that provide
better
descriptive illustrations are
found in the appendix.
A Stylistic Analysis of
Complexity in William
LEVELS OF
Faulkner's
LANGUAGE
"A Rose for Emily"
INTERPRETATION Ironically, it can be seen from
table (5) that when we
reconstruct the chronological
arrangement in this linear
fashion,
we render Faulkner’s
masterpiece an injustice. The
order of events from a micro-
vision attitude shows its
impact on the
whole story resulting in an
element of suspense that
dominates the story from as a
whole.
“A Kite for Aibhín”
The first two lines are
describing the physical
atmosphere, including the
air which the poet
describes as ―Air from
another life and time and
place‖, refers to something
special or rare, and
―heavenly‖ as he mentions
in the second line. The third
line is a metaphoric line in
which the kite is described
as ―A white wing beating
high against the breeze‖,
the wing which is flying
against the heavenly air in
the sky. After this
description, he ascertains
that it is a kite by using the
word ‗yes‘. He also
mentioned in the same line
that the family gathered in
one afternoon to watch this
flying kite. All this
celebrating the birth of the
newborn child, so the kite
can represent the child, and
all the family members are
gathered to attend this
great event. Then after this
peaceful description, he
mentions ―Among the
briar hedges and stripped
thorn‖, the thorn and briar‘
to refer to the delivery
process of the child or for
the waiting process which is
as we can say in our daily
life ―on pins and needles‖.
In line (7) the poet
continues to describe his
way of dealing with this
event or situation. In line
(8), he makes a reference
to ―Anahorich Hill‖ one of
the places from the poet‘s
early childhood, when he
was a schoolboy, this place
stick to his memory.
Actually, he recalls the
memory of this green place,
this place in which water
springs from the earth
making everything alive and
green (Ibid).
In line (10) and (11), the
poet comes back to
describe the kite, he
mentions that after
recalling some memories.
He said the all the family
members are watching the
kite, and then he uses
THE SICK ROSE
BY
WILLIAM BLAKE
While the rose exists as
a beautiful natural
object that has become
infected by a worm, it
also exists as a literary
rose, the conventional
symbol of love. The
image of the worm
resonates with the
Biblical serpent and
also suggests a phallus.
Worms are
quintessentially
earthbound, and
symbolize death and
decay. The “bed” into
which the worm creeps
denotes both the
natural flowerbed and
also the lovers’ bed.
The rose is sick, and the
poem implies that love
is sick as well. Yet the
rose is unaware of its
sickness. Of course, an
actual rose could not
know anything about its
own condition, and so
the emphasis falls on
the allegorical
suggestion that it is
love that does not
recognize its own ailing
state. This results partly
from the insidious
secrecy with which the
“worm” performs its
work of corruption—
not only is it invisible, it
enters the bed at night.
This secrecy indeed
constitutes part of the
infection itself. The
“crimson joy” of the
rose connotes both
sexual pleasure and
shame, thus joining the
two concepts in a way
that Blake thought was
perverted and
unhealthy. The rose’s
joyful attitude toward
love is tainted by the
aura of shame and
secrecy that our culture
attaches to love.
 several vital verbs { hovers,
tugs, veers, dives } in this
line to describe the
movement of this flying
object.
Line (12) the family
encourages the kite as if it
is a person, Heaney uses
―rise‖ opposite to
―below‖ referring to the
position of the kite and the
family members.
In line (13) the poet uses a
simile; he makes similarity
between his hand and a
spindle (spinning wheel),
which rolling up the thread
of the kite.
Line (14) and (15) an
allegory of parenthood is
created by the poet, he is
describing how skillful is
the kite flyer is
―Unspooling, the kite a
thin-stemmed flower‖.
Actually, he encourages the
kite to soar ―Climbing and
carrying, carrying farther,
higher‖
Line (16) and (17) refer to
the infant‘s longing to the
breast of the mother and
looking at her face. Finally,
line (18) and (19) refer to
the childbirth and to the
separating process of the
umbilical cord which
connects the mother and
the child. Readers can
notice the long hyphen
referring to this process,
then the newborn child
comes down by itself as a
gift by nature, the poet
uses ―windfall‖ the most
appropriate climax to the
very beginning of the kite in
the air

A stylistic analysis of a
selected short story in Agnes Stylistic Analysis of the
A Stylistic Analysis of a
LEVELS OF Newton Keith’s Land below Short Story ‘The Last
Philippine Essay, “The
LANGUAGE the Wind: Narratorial shift, Word’ by Dr.
Will of the River”
ambivalence and mimicry in A. R. Tabassum
colonial writing
POINT OF VIEW At the very beginning of the The story is narrated by Since the literary piece
short story, Agnes uses first- person narrator, is a narrative essay, it
psychological point of view who is also the encompasses authorial
type A in the excerpt below, protagonist of the omniscience, his
it is clear that Agnes plays the story. The thoughts, personal version of
role of a narrator as well as actions and events. The writer
participant for this story and dialogues of other serves as the
thought from a first-person characters are firstperson-actional
point of view (Verdonk, conveyed to us by the participant since the
2002). Her description of the narrator’s point of main character tells his
trip to Semporna is from her view. The narration is in story. This focalization
point of view and is based on fact in form of a has a clear authorial
her participating character’s farewell speech. The viewpoint which
consciousness. Agnes narrator is speaking in projects the coherence
describes as follows: such manner as if he is or purpose and human
connecting with his perception The essay
Our return trip from the listeners and as if he has 23 occurrences of
island usually leaves us at knows how personal pronoun I
Semporna for a night. After they think and feel. which justifiably
the green and blue of the Following instances indicate the subject.
jungle and sea, the glowing from the text serve However, there is also
white strand of Semporna best to illustrate this greater occurrences of
seems to strike out at me like point. the pronoun it with 18
a violent hand across the “Mates and friends! occurrences, referring
cheek, painful almost in its You are whispering in to the river, which
heat. But there is one time each other’s ears. I justifies the significance
thereafter the sun has first know what you mean. of the river throughout
gone, when the scene “Let me tell you the essay.
becomes unbelievably something however
beautiful. And perhaps incredible it may
because that darkening coast sound.”
holds the memory of amok of “Mates and friends!
1935, that sunset beauty is Now don’t wink at each
also sad… other ominously.”

However, as the story

progresses, there seems to
be a clear change of point of
view from type A to type B
when Agnes starts to
describe Abanawas and she
herself changes her roles to
be the heterodiegetic
narrator. The narrator is
telling the story from an
omniscient point of view who
 tells the story using a third
person omniscient and
possesses the ability to see
the inner thought of her
characters. Here she focuses
on the character’s point of
view, feelings and inner
thoughts. She is trying to
avoid bias in her narrative by
making herself as the
omniscient narrator:

In the noisy darkness of the

jungle night he sat by the
river and thought. In only one
way could the shame be lifted
from himself and his wife. He,
Abanawas, a man of the river
had no choice in the dead
which he must do. He must
do what his ancestors had
done, what his conscience
told him to do […] when the
shame had been lifted by
blood Abanawas looked
down on the twisted, once
lovely body of his adulterous
wife transfixed to the ground
by his spear. The bleeding
torso and severe head of her
lover lay near her. As
Abanawas looked sadly down
on them he knew that his
action was just

Here Agnes discusses the

reason why Abanawas kills
his wife and her partner. She
describes Abanawas as an
obedient person who tries to
live as a dignified man in
accordance to the law of the
native. Starting from this
point, she uses zero
focalization where the
narrator does not play any
role in the story but seems to
know and says more than any
of the other characters. This
comes together with the free
indirect discourse.
LEVELS OF
LANGUAGE
CHARACTERS
Stylistic Analysis of the
Short Story ‘The Last
Word’ by Dr.
A. R. Tabassum
All the characters are
nameless. There is a
gardener who is
addressing his fellow
gardeners as he is
departing from the
garden. The fellow
gardeners are very
much concerned about
the journey which the
protagonist is going to
undertake
because “the way is
long and full of
uncertainty” and the
protagonist is
disfigured and weak
however he advises
them
not to worry about him
and get back to work
because “the gardener
is hard to please”. This
certainly indicates the
presence of a
supervisor.
Then there is the
“sweet-heart”, who is
calling the gardener to
accompany her to some
unknown destination
where he
would be rewarded
with his wage of love.
Finally there are the
beauties of the garden
who will live in the
‘eternal songs’ of the
gardener when he is
gone.
 Stylistic Analysis of the
LEVELS OF Short Story ‘The Last
LANGUAGE Word’ by Dr.
A. R. Tabassum
METAPHOR AND Allegory Metaphor
METONYMY
The story is allegorical Metaphor is a figure of
and metaphorical one speech in which two
as it contains two levels unlike objects are
of meaning. implicitly compared
At surface level there is without the use of like
a gardener taking leave or as. The speaker
from his fellows before employs metaphor of
leaving the garden. This an explosion to
leave taking is in form compare a deferred
of an address, but the dream with a bomb.
language used is clearly “does it explode?” As a
not suited to a bomb explodes, it
gardener. The garden is causes a great
used as a metaphor for destruction of lives and
the world. properties. The person
So at a deep level it is whose dream is
the farewell speech of a deferred loses the
man leaving the world. optimistic vision in life.
The phases of the sun He explodes with great
are the metaphor for depression and despair
the different phases of that he may commit
man’s life as in: suicide, homicide or
“Mates and friends! both.
Today at dawn the
nightingale sang a
sweet and melodious
song which, I know,
was a message from my
sweetheart calling me
back. As the sun rose
high, the lovely drops
of the dew,
precariously balanced
on the
thorns of the rose bush,
beckoned me to follow
them to her and then
they ominously left the
bush. Now the sun is
on
the decline.”

Stylistic Analysis of the

THE BELLS
LEVELS OF Short Story ‘The Last
BY
LANGUAGE Word’ by Dr.
EDGAR ALLAN POE
A. R. Tabassum
FOREGROUNDING Parallelism and The word bells has also
Parallelism Anaphora been foregrounded
throughout the poem;
SYNTACTIC / occurring 13 times to
LEXICAL/ proclaim the pure love
PHONEMIC and happiness being
experienced by the
persona at this stage of
his life, where he gets
married to his beloved.
Hence, the bells are
described as Golden in
line 2; indicating the
highest point of the
happiness and
unadulterated love.
Again, in line 17, “Of”
was also foregrounded
to show the intensity
and importance of the
bell jingle and also to
create a permanent
effect in the mind of
the reader– of the bells,
bells, bells, Of the bells,
bells, bell.
A stylistic analysis of a
selected short story in Agnes
LEVELS OF Newton Keith’s Land below
LANGUAGE the Wind: Narratorial shift,
ambivalence and mimicry in
colonial writing
SPEECH ACTS From the excerpt above, it
shows that Agnes uses the
narrative report of speech
acts. Agnes tries to alienate
the reader from the
imperialist by raising the
issue of how the white man’s
law has discriminated the law
of the native. Agnes also tries
to build a closer relationship
between the reader and the
main character Abanawas
using internal perspectives
type B. The excerpt above
also demonstrates some
aspects of transitivity items
by displaying unequal power
relationship between the
agency and the victim—the
clausal structure of an agent-
affected –agent
hurledaffected.