LEXICAL THEMATIC DIMENSION,VISUAL DIMENSION,

RHYTHMIC-ACOUSTIC DIMENSION

This Paper is Submitted to Fulfill Introduction to Literature Group Assignment

Lecturer : Afif Suaidi, S. S,. M.Hum.

Arranged by :

Riska Maulina 181230125

Mansyur AS 181230131

Sekar Septiani 181230144

ENGLISH EDUCATION DEPARTMENT CLASS 4D

FACULTY OF EDUCATION AND TEACHER TRAINING

STATE ISLAMIC UNIVERSITY SULTAN MAULANA HASANUDDIN

BANTEN

2020
 PREFANCE

Let us say our praise to Allah SWT for giving us the blessings of faith and health,
because that we can finished this paper assignment at the appointed time. Then, shalawat and
salam we don’t forget to send it to our prophet Muhammad SAW (PBUH) who has brought
the guidance of the path which is always blessed by Allah SWT.

The purpose of this paper under the title “Literary Genre; Prose, intrinsic and extrinsic
element” is to fulfill the assignment from subject Introduction to Literature, 4th semester of
majoring English Education Department faculty of Education and Teacher Training year
2020. While hoping to gain knowledge in learning and to understand the basic values and
subject that are reflected in thinking and acting.

Next, we would like to express our deep gratitude to all parties who have helped us
giving their ideas and thoughts for the realization of this paper. Hopefully by studying this
paper we will be able to deal with problems and solve that arise in the learners. Lastly, with
the limitations that we have, we realize that this paper is far from perfect. Therefore, we
sincerely welcome greetings from readers with open arms for the improvement and
improvement of this paper.

Serang, March 4 2020

Authors

i
 LIST OF CONTENT

PREFANCE ii
LIST PF CONTENTiii
CHAPTER I INTRODUCTION 1
1.1 Background of The Paper 1
1.2 Problem Formulation 2
1.3 Purpose of The Paper 2
CHAPTER II DISCUSSION 4
2.1 Lexical Thematic Dimension 4
2.2 Visual Dimension 8
2.3 Rhymthmic-Acoustic Dimension 16
CHAPTER III CONCLUSSION 22
3.1 Conclussion 22
3.2 Criticism and Suggestion 22
REFERENCE 23

ii
 CHAPTER I

INTRODUCTION

1.1 Backround of the Paper

In English, literature comes from the word "literature" which means literary
or literary works can be in the form of drama, novels or poetry. Literature is a source
or reference used in various activities in the world of education or other activities.
Literature can also be interpreted as a reference that is used to obtain certain
information.1 Another opinion says that the literature is a source of information that
can be used as a reference by users. In other words, literature does not have to be
written, but it can also be in the form of films, recordings, vinyl records, laser disc,
and other objects that can provide useful information.

According to the ALA Glossary of Library and Information Sciences, the

notion of literature is reading material that can be used for various types of activities,
both intellectually and recreation. From the definitions explained, the following are
some of the functions of the literature:

• To help users find the information they need.

• To gather information that results from analysis or hypotheses.
• To supplement information or additional information.2

Back in ancient Greece, literature was divided into two main categories:
tragedy and comedy. Nowadays the list of possible types and literature genres can
seem endless. But it is still possible to narrow down the vast amount of literature
available into a few basic groups. The five genres of literature students should be
familiar with are Poetry, Drama, Prose, Nonfiction, and Media—each of which is
explained in more detail below.3

Poetry is a form of writing that contains language with quality aesthetics and
meaningful content. Poetry can be an outpouring of one's heart and written in

1
https://www.studinews.co.id/pengertian-literatur-beserta-jenisnya/
2
https://www.maxmanroe.com/vid/umum/pengertian-literatur.html
3
https://www.brighthubeducation.com/homework-help-literature/100292-the-five-main-genres-of-literature/

1
 beautiful words. Poetry can contain one word or syllable that is repeated over and
over again. A brief example of some of William Shakespeare's poetry forms from
the poem 'Venus and Adonis':

Even like the sun with a purple face

Has been ta'en his last leave of a crying morning,

Rose-cheek Adonis persuaded him to chase;

Hunting she loves, but love she laughs to pout;

Ill-minded Venus redeemed it,

And like a young-faced woman dare to propose to him.

And like a bold-faced suitor 'gins to woo him.

This is often considered the oldest form of literature. Before writing was
invented, oral stories were commonly put into some sort of poetic form to make
them easier to remember and recite. Poetry today is usually written down but is still
sometimes performed. A lot of people think of rhymes and counting syllables and
lines when they think of poetry, and some poems certainly follow strict forms. But
other types of poetry are so free-form that they lack any rhymes or common patterns.
There are even kinds of poetry that cross genre lines, such as prose poetry. In
general, though, a text is a poem when it has some sort of meter or rhythm, and
when it focuses on the way the syllables, words, and phrases sound when put
together. Poems are heavy in imagery and metaphor and are often made up of
fragments and phrases rather than complete, grammatically correct sentences. And
poetry is nearly always written in stanzas and lines, creating a unique look on the
page.4

4
https://www.brighthubeducation.com/homework-help-literature/100292-the-five-main-genres-of-literature/

2
1.2 Problem Formulation
A. What is Lexical Thematic Dimension ?
B. What is Visual Dimension ?
C. What is Rhythmic-Acoustic Dimension?

1.3 Purpose of the Paper

A. To know what is Lexical thematic dimension
B. To know what is Visual Dimension
C. To know what is Rhythmic-Acoustic Dimension

3
 CHAPTER II

DISCUSSION

2.1 Lexical Thematic Dimension

The issue of the narrator, which has been dealt with in the context of point of
view and characters in the treatment of fiction, is usually referred to in poetry with the
terms “voice” or “speaker.” As poetry is often regarded as a medium for the
expression of subjective, personal events—an assumption which does not always
correspond to the facts—the issue of the speaker is central in the analysis of poems.
The question whether the speaker and the author are one and the same person is, of
course, also relevant for fiction. In the novel and in the short story, however, a
distinctive use of point of view techniques easily creates a distance between the
narrator and the author.5

a. Diction

The choice and use of words in literature in poetry concrete nouns and scenes
are employed in order to create a particular feeling; poetry tries to convey themes in a
concrete language of images (in contrast to abstract philosophical texts, which remain
abstract in their expression, poetry tries to convey themes in a concrete.

 Diction Imagery(image)

Is the most common manifestation of the concrete character of poetry (even if an

abstract theme is at the centre of the poem, the poet still uses concrete imagery in
order to make it more accessible the concrete character can be achieved on
lexical-thematic, visual, and rhythmic-acoustic levels it refers to a predominantly
visual component (you can picture the object or situation);

 Diction symbols

Refer to a meaning beyond the material object (Images and concrete objects often
serve the additional function of symbols - cross refers to deat clock refers to time).

5
Klarer, Mario Introduction to Literary Study. London& New York: Routledge

4
 CONVENTIONAL SYMBOLS - commonly known

PRIVATE SYMBOLS - created by the poet; develops in symbolic function in its

particular context.6

b. Rhetorical figures

An expression of language, such as simile, metaphor, or personification, by

which the usual or literal meaning of a word is not employed.

 Simile
Is a comparison between two different things which are connected by “like,”
“than,” “as,” or “compare,” as in Robert Burns’ (1759–96) poem

“A Red, Red Rose” (1796):

Oh, my love is like a red, red rose

That’s newly sprung in June;

My love is like the melody

That’s sweetly played in tune.…

 Metaphor is The equation of one thing with another without actual

comparison.

if Burns said “My love is a red, red rose”, instead of “Oh, my love is like a
red, red rose,” the simile would be transformed into a metaphor. In his poem
“Auguries of Innocence” (c. 1803), William Blake (1757–1827) uses a
different metaphor in every stanza:

To see a world in a grain of sand

And a heaven in a wild flower,

hold infinity in the palm of your hand

and eternity in an hour.

6
Anonim, https://quizlet.com/482749801/literatura-4-flash-cards/. Diakses 3 maret pukul 9.56

5
  Metonymy (Greek for "a change of name") the literal term for one thing is
applied to another with which it has become closely associated be-cause of a
recurrent relationship in common experience.

Yet Do I Marvel (By Countee Cullen)

These lines are from Countee Cullen’s poem Yet Do I Marvel:

“The little buried mole continues blind,

Why flesh that mirror Him must someday die…”

Here, Cullen uses “flesh” to represent humans, and questions God about why
we have to die when we are created in His likeness.

 Synecdoche (Greek for "taking together"), a part of something is used to

signify the whole, or (more rarely) the whole is used to signify a part.

The Eyes around – had wrung them dry –

And Breaths were gathering firm

For that last Onset – when the King

Be witnessed – in the Room –(“I heard a Fly buzz – when I died –” by Emily
Dickinson)

In this famous short poem by Emily Dickinson, the second stanza contains an
example of synecdoche. The speaker in the poem is at the point of death, and
in the second stanza makes note of “The Eyes around.” The eyes in this case
refer to the audience that has gathered by the speaker’s deathbed. The speaker
doesn’t refer to the people themselves, but instead to their eyes—which are
now dry from having exhausted their tears—and breaths

 personification, or in the Greek term, prosopopeia, in which either an

inanimate object or an abstract concept is spoken of as though it were
endowed with life or with human attributes or feelings.7

7
Holly cross,literary element, https://slideplayer.com/ .diakses tanggal 2 maret 2020 pukul 12.34

6
 Have You Got A Brook In Your Little Heart (By Emily Elizabeth Dickinson)

“Have you got a brook in your little heart,

Where bashful flowers blow,

And blushing birds go down to drink,

And shadows tremble so?”

The bashful flowers, blushing birds, and trembling shadows are examples of
personification.

c. Theme

According to Burton Goodman, theme is the main idea or the main pointin a
story. A theme must represent the whole part of the story, because theme is a basic
development of a whole story. Actually it is not easy to find out the theme . The
reader has to read the novel and understand what the story tellsabout.Staton (2007:7)
was stated that theme gives a strong explained about theunity of what is happening in
the story, and tell about the story of life in acommon context.

The purpose of theme is to give a shape and effect in our mind,so make the
story easy to remember. A good theme has to represent the entirestory in the novel.
Sometimes the theme shapes in to the fact that comes from thehuman experience. It is
explored by the story and then gives impression for eachof event in life. 8 The theme
differs from the subject itself. The subject of a work can be described in concrete
terms, usually through actions, For example:

 The Adventures of Huckleberry Finn.

The subject matter is Huckleberry Finn’s adventures. The theme, however, is

more of an abstract idea. The primary theme of Huck Finn, for example, is the
conflict between civilization and natural life.

8
munaf,Jurnal.IAIN raden intan lampung.

7
2.2. Visual Dimension

1. Stanza
In poetry, a stanza is used to describe the main building block of a poem.
It is a unit of poetry composed of lines that relate to a similar thought or topic—
like a paragraph in prose or a verse in a song. Every stanza in a poem has its
own concept and serves a unique purpose. A stanza may be arranged according
to rhyming patterns and meters the syllabic beats of a line. It can also be a free-
flowing verse that has no formal structure.

A stanza is a series of lines grouped together in order to divide a poem;

the structure of a stanza is often (though not always) repeated throughout the
poem. Stanzas are separated from other stanzas by line breaks. Each stanza is a
standalone unit that can either make up an entire poem or can build a bigger
poem with other stanzas.

A stanza can reveal the following about a poem:

 Structure. A poem always has a structural framework in place. Stanzas

are part of a poem’s architecture.
 Pattern. In formal verse poetry, in which the poem follows a rhyme
scheme and meter, the first stanza sets the pattern for the overall poem. The
rhyme and rhythm used will repeat in the second stanza, and so on.
 Organization. Often, the lines of a stanza explore a thought. As the poet
moves onto the next thought, they might progress to a new stanza.
 Set a mood. A break in between stanzas may signal a shift in mood or
emotional tone.
 Shape. The space around and between stanzas (or lack thereof), and the
pattern they create on the page, defines the shape of a poem.

Stanzas, like poems, come in all shapes and sizes. There are many different
types and they are often classified by meters, rhyme schemes or how many
groups of lines they have. Here are some different types of stanzas.

8
  Monostich. A one-line stanza. Monostich can also be an entire poem.
 Couplet. A stanza with two lines that rhyme.
 Tercet. A stanza with three lines that either all rhyme or the first and the
third line rhyme—which is called an ABA rhyming pattern. A poem made
up of tercets and concludes with a couplet is called a “terza rima.”
 Quatrain. A stanza with four lines with the second and fourth lines
rhyming.
 Quintain. A stanza with five lines.
 Sestet. A stanza with six lines.
 Septet. A stanza with seven lines. This is sometimes called a “rhyme
royal.”
 Octave. A stanza with eight lines written in iambic pentameter, or ten
syllable beats per line. The more lines a stanza has the more varieties of
rhyme and meter patterns. For example, “ottava rima” is an eight-line
stanza with the specific rhyme scheme in which the first six lines have an
alternating rhyme pattern and a couplet as the final two lines.
 Isometric stanza. Isometric stanzas have the same syllabic beats, or the
same meter, in every line.
 Heterometric stanza. A stanza in which every line is a different length.
 Spenserian stanza. Named after Edward Spenser’s unique stanza structure
in his poem “The Faerie Queene.” A Spenserian stanza has nine line, eight
in iambic pentameter—ten syllables in a line with emphasis on the second
beat of each syllable—and a final line in iambic hexameter—a twelve-
syllable beat line.
 Ballad stanza. Often used in folk songs, a ballad stanza is a rhyming
quatrain with four emphasized beats (eight syllables) in the first and third
lines, and three emphasized beats (six syllables) in the second and fourth
lines.

How Is Formal Verse Different from Free Verse in Poetry?

Formal verse.

9
 Formal verse is poetry that follows a strict repeating pattern, like sonnets
or limericks. Stanzas in formal verse will have a matching meter and rhyme
scheme. Robert Frost was an advocate for structure in poetry, and famously said
that poetry in free verse was like playing tennis without a net. William
Shakespeare’s sonnets are a classic example of how stanzas are used in formal
verse.

“Sonnet 130”
William Shakespeare

My mistress' eyes are nothing like the sun;

Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.

I have seen roses damasked, red and white,

But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.

I love to hear her speak, yet well I know

That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.

And yet, by heaven, I think my love as rare

As any she belied with false compare

Free verse.

In free verse, poetry does not follow a strict rhyme or meter. Stanzas of
different types can be used within a poem. Walt Whitman was the pioneer of
free verse, using different kinds of stanzas of varying line lengths.

“To a Locomotive in Winter”

Walt Whitman

10
Thee for my recitative,
Thee in the driving storm even as now, the snow, the winter-day
declining,
Thee in thy panoply, thy measur’d dual throbbing and thy beat
convulsive,
Thy black cylindric body, golden brass, and silvery steel,
Thy ponderous side-bars, parallel and connecting rods, gyrating,
shuttling at thy sides,
Thy metrical, now swelling pant and roar, now tapering in the
distance,
Thy great protruding head-light fix’d in front,
Thy long, pale, floating vapor-pennants, tinged with delicate
purple,
The dense and murky clouds out-belching from thy smoke-stack,
Thy knitted frame, thy springs and valves, the tremulous twinkle
of thy wheels,
Thy train of cars behind, obedient, merrily following,
Through gale or calm, now swift, now slack, yet steadily careering;
Type of the modern—emblem of motion and power—pulse of the
continent,
For once come serve the Muse and merge in verse, even as here I
see thee,
With storm and buffeting gusts of wind and falling snow,
By day thy warning ringing bell to sound its notes,
By night thy silent signal lamps to swing.

Fierce-throated beauty!
Roll through my chant with all thy lawless music, thy swinging
lamps at night,
Thy madly-whistled laughter, echoing, rumbling like an
earthquake, rousing all,
Law of thyself complete, thine own track firmly holding,
(No sweetness debonair of tearful harp or glib piano thine,)
Thy trills of shrieks by rocks and hills return’d,

11
 Launch’d o’er the prairies wide, across the lakes,
9
To the free skies unpent and glad and strong.

Common Examples of Stanza

While the definition of stanza belongs only to poetry, there are many similar
concepts. For example, song lyrics are usually broken into verses (including the
chorus). Also, books for children generally have one key concept, action, or piece
of dialogue per page, much like the way that stanzas break up the images and thoughts
in a poem. Here is an example from the Beatles’ lyrics to “Hey Jude”:

Hey Jude, don’t make it bad

Take a sad song and make it better
Remember to let her into your heart
Then you can start to make it better

Hey Jude, don’t be afraid

You were made to go out and get her
The minute you let her under your skin
Then you begin to make it better

These two verses are very similar to the way stanzas break a poem into pieces.

Significance of Stanza in Literature

Poets have been using stanzas in their works for thousands of years. Many
religious texts and works such as the Old English epic Beowulf are written with
stanzas. The purpose of stanzas, whether in longer works or short poems, is to break
the images and information into shorter pieces. Stanzas are also important in formal
poems in which there is a strict meter and rhyme scheme. In the time of troubadours
and oral literature stanzas had even greater importance because they were helpful
tools for the speaker to memorize long works.

9
https://www.masterclass.com/articles/poetry-101-what-is-a-stanza-in-poetry-stanza-definition-
with-examples#how-is-formal-verse-different-from-free-verse-in-poetry

12
 Examples of Stanza in Literature

Shall I compare thee to a summer’s day?

Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date:

Sometime too hot the eye of heaven shines,

And often is his gold complexion dimm’d;
And every fair from fair sometime declines,
By chance, or nature’s changing course, untrimm’d;

But thy eternal summer shall not fade

Nor lose possession of that fair thou ow’st;
Nor shall Death brag thou wander’st in his shade,
When in eternal lines to time thou grow’st;

So long as men can breathe or eyes can see,

So long lives this, and this gives life to thee.

(“Sonnet 18” by William Shakespeare)

“Sonnet 18” is one of William Shakespeare’s most famous sonnets, and it is a

good example of how stanzas work in English sonnets. We can see 3 quatrains with
the rhyme scheme ABAB CDCD EFEF, ending with a closed couplet GG. As is the
case with Shakespeare’s sonnets and many of his dialogues in plays, these stanzas are
written in the meter of iambic pentameter (10 syllables with a regular pattern of
unstressed and stressed syllables).10

2. Concrete poetry,

Poetry in which the poet’s intent is conveyed by graphic patterns of letters,

words, or symbols rather than by the meaning of words in conventional arrangement.
The writer of concrete poetry uses typeface and other typographical elements in such
a way that chosen units letter fragments, punctuation marks, graphemes (letters),
morphemes (any meaningful linguistic unit), syllables, or words (usually used in a
graphic rather than denotative sense) and graphic spaces form an evocative picture.11
10
http://www.literarydevices.com/stanza/
11
https://www.britannica.com/art/concrete-poetry

13
 Concrete poetry—sometimes also called ‘shape poetry’—is poetry whose
visual appearance matches the topic of the poem. The words form shapes which
illustrate the poem’s subject as a picture, as well as through their literal meaning. This
type of poetry has been used for thousands of years, since the ancient Greeks began to
enhance the meanings of their poetry by arranging their characters in visually pleasing
ways back in the 3rd and 2nd Centuries BC. A common way to make the visual
structure reflect the subject of the poem is to fill an outline shape that relates to the

topic of the poem. Here is an example about a snowman:

 Choose an object to be the subject for your poem.  Good suggestions for
beginners could be favorite animals or favorite foods.
 Draw a simple outline of its shape on paper or on the computer.  If you’re
using paper, draw with a pencil not a pen.
 Write your poem normally.  Try to describe how the subject makes you feel. 
The words will be fitted into your drawing, so don’t make it too long –
between 6-12 lines is probably a good length!

IT DOESN’T HAVE TO RHYME!

14
  Lightly in pencil, or on the computer, write your poem into the shape.  It’s ok
if it doesn’t fit properly yet, because this is where you find out if you need to
make the writing larger or smaller.
 Decide if you need to make your writing bigger or smaller in certain parts of
the drawing,  then erase your first draft and write out the poem again.  You can
keep doing this until you are happy.
 Finally, erase the outline of your shape, so that it is just the words from your
poem left creating the image!  If you were writing in pencil, you can now go
over the words in pen!
 (In my example I added the ‘brrr…’s afterwards to make the picture look
better, but without interrupting the story of the poem.  If you want to try
details like this, think of comic-book-style effect words like ‘flash’, ‘purr’,
‘phew’ or ‘zzzz…’ to add another element to the story-picture!)

Another way to make concrete poetry is to use the lines of words to make the
lines of a drawing. This time, the subject doesn’t have to be an object, but it does have
to be something you can draw an illustration of using ‘stick’ figures.

This is the another example of ‘growing’:

15
 Choose your subject

 Draw a simple line – or ‘stick’ – drawing to illustrate your subject on paper or

on the computer.  If you’re using paper, draw with a pencil not a pen.
 Write your poem normally.  Simple is best, so stick to between 2-6 lines.

IT DOESN’T HAVE TO RHYME!

 Lightly in pencil, or on the computer, write the lines of your poem along the
lines of your drawing – remember that we normally read from left to right, and
from top to bottom!
 If you don’t have enough words, or have some left over, don’t worry!  Decide
where you need to make your writing bigger or smaller to make it all fit, then
erase your first draft and write out the poem again over your line drawing. 
You can keep doing this until you are happy.
 Finally, erase the line drawing, so that it is just the words from your poem left
creating the image! (If you were writing in pencil, go over the writing in pen
first.)

(In my example I wanted to add branches to the tree, so used repeated words from my
poem to highlight the theme, and make the picture better.  If you want to add details
like this, think about what the most important word is in your poem and use the one
that best sums up its message!).12

2.3. Rhythmic-Acoustic Dimension

In order to achieve the concrete quality of poetic language, sound and tone are
employed as elements with their own levels of meaning. By choosing certain words in
a line or stanza, a poet can produce a sound or tone which is directly related to the
content of the statement. The acoustic element, like a poem’s visual appearance in
concrete poetry, can enhance the meaning of a poem. The following passage from
Alexander Pope’s (1688–1744) “Essay on Criticism” (1711) is a self-reflexive
example of this technique:

12
https://www.poetry4kids.com/news/how-to-write-a-concrete-poem/

16
True ease in writing comes from art, not chance,

As those move easiest who have learned to dance.

‘Tis not enough no harshness gives offense,

The sound must seem an echo to the sense:

Soft is the strain when Zephyr gently blows,

and the smooth stream in smoother numbers flows;

But when loud surges slash the sounding shore,

The hoarse, rough verse should like the torrent roar.

In these lines, Pope points out that, in what he considers a good poem, content
and sound harmonize and form a unity (“The sound must seem an echo to the sense”).
In lines 5 and 6, he mentions the west wind (Zephyr) and suggests its natural sound
through the deliberate choice of words whose sounds (“z,” “ph,” “w,” “oo,” “th”) are
reminiscent of a gentle breeze. In lines 7 and 8, the harsh noise of the sea breaking on
the shore is imitated by words with less gentle sounds (“sh,” “gh,” “v,” “rr”). This
unifying principle of sound and sense is of course not a goal for every poet, and
modern examples often work against this more traditional attitude toward unity.

Meter and rhyme (less often, rime) are further devices in the acoustic
dimension of poetry which hold a dominant position in the analysis of poems, partly
because they are relatively easy to objectify and measure. The smallest elements of
meter are syllables, which can be either stressed or unstressed. According to the
sequence of stressed and unstressed syllables, it is possible to distinguish between
various metrical feet, whose number consequently indicates the meter. In the analysis
of the meter (scansion), a line is first divided into syllables. The example here is the
verse “The woods are lovely, dark and deep” from Robert Frost’s (1874–1963) poem
“Stopping by the Woods on a Snowy Evening” (1923):

The—woods—are—love—ly,—dark—and—deep

After the division into syllables, stressed syllables (´) and unstressed syllables (˘) are
identified. The technical term for this process is scansion:

17
Thě—woóds—ăre—lóve—lў,—dárk—ǎnd—deep

According to the sequence of stressed and unstressed syllables, the line can be divided
into feet:

Thě—woóds |—ăre—lóve |—ly,—dárk |—ănd—deép.

The four most important feet are:

1. lambus, or iambic foot: an unstressed syllable followed by a stressed

syllable(˘´) Thě cúr | fěw tólls | thě knéll | ǒf pár | tĭng dáy.
2. Anapest, or anapestic foot: two unstressed syllables followed by one
stressed syllable(˘˘´) Ănd thě sheén | ǒf thěir spéars | wǎs lǐke stárs | ŏn
thě seá.
3. Trochee, or trochaic foot: a stressed syllable followed by an unstressed
syllable(´˘) Thére thěy | áre, mў | fíftў | mén ănd | wóměn.
4. Dactyl, or dactylic foot: one stressed syllable followed by two
unstressed syllables(´˘˘) Júst fŏr ă | hándfǔl ǒf | sílvěr hĕ | left ǔs.

According to the number of feet, it is possible to distinguish monometer (1),

dimeter (2), trimeter (3), tetrameter (4), pentameter (5), and hexa-meter (6). In the
description of the meter of a line, the name of the foot and the number of feet are
mentioned. The first line of Thomas Gray’s (1716–71) “Elegy Written in a Country
Church Yard” (1751) (“Thě cúr | fěw tólls | thě knéll | ŏf pár | tĭng dáy”), which
consists of five iambic feet, is termed iambic pentameter. This meter, which is close
to the rhythm of natural speech and therefore popular in poetry and drama, is also
referred to as blank verse. Another popular meter in English is iambic hexameter,
which is also called Alexandrine.

Alongside meter, rhyme adds to the dimension of sound and rhythm in a

poem. It is possible to distinguish internal, end and eye rhymes. Internal rhymes are
alliteration and assonance. Alliteration is the repetition of the same consonant at the
beginning of words in a single line (“round and round the rugged rock the ragged
rascal ran”). If a vowel is repeated instead (either at the beginning or in the middle of
words) it is called assonance (“Thou foster child of silence and slow time”).

18
 Alliteration was the most common rhyming pattern in Old English and in
some types of Middle English poetry. The opening lines of William Langland’s (c.
1330–86) Middle English “long poem” Piers Plowman (c. 1367–70) are good
examples of a meter in which alliteration and stress complement each other.

In a sómer séson, | | whan sóft was the sónne

I shópe me in shroúdes, | | as Í a shépe were,

In hábits like a héremite, | | unhóly of wórkes

Went wýde in this wórld, | | wónders to hére.

In this meter, every line contains four stressed syllables with additional
alliterations, while the number of unstressed syllables varies. In the middle, the line is
split into two halves by a caesura which marks the beginning of a new unit of thought.
The most common rhyming scheme in modern poems is end rhyme, which is based
on identical syllables at the end of certain lines. To describe rhyme schemes, letters of
the alphabet are used to represent identical syllables at the ends of a line, as in the
following poem by Emily Brontë (1818–48), “Remembrance” (1846):

Cold in the earth—and in the deep snow piled above thee, a

Far, far removed, cold in the dreary grave! b

Have I forgot, my only Love, to love thee, a

Served at last by Time’s all-severing wave? b

This system of identification helps to highlight the rhyme structure of complex

poems by reducing them to their basic patterns. Eye rhymes stand between the visual
and the acoustic dimension of a poem, playing with the spelling and the pronunciation
of words, as in these lines from Samuel Taylor Coleridge’s (1772– 1834) “Kubla
Khan” (1816):

Then reached the caverns measureless to man,

And sank in tumult to a lifeless ocean:

And ‘mid this tumult Kubla heard from far

19
Ancestral voices prophesying war!

The syllables “an” at the end of the first two lines are examples of eye rhyme,
as the sequence of the letters “a” and “n” is identical, but pronounced differently in
the two verses. Eye rhymes play with the reader’s expectations. When reading the two
lines in Coleridge’s poem, one is tempted to pronounce the syllable “an” in “man”
and “ocean” in such a way that the two words rhyme. By the time one gets to the
word “ocean”, however, it has become clear that they only rhyme visually and have to
be pronounced differently. Eye rhymes permit authors to highlight certain words by
creating a tension between visual and acoustic levels and thus to direct the reader’s
attention to specific elements of the poem.

The multitude of different stanzas in English poetry can be reduced to a few

basic forms. Most poems are composed of couplets (two verses), tercets (three
verses) or quatrains (four verses). The sonnet is an example of the combination of
different stanzas. According to the rhyming scheme and the kind of stanzas, one can
distinguish between Shakespearean, Spenserian and Italian (or Petrarchan) sonnets. In
the Renaissance, sonnet cycles— consisting of a number of thematically related
poems—became popular as a result of Italian influence. These cycles enabled poets to
deal with certain topics in greater detail while working within the sonnet form.

The English or Shakespearean sonnet, which holds a privileged position in the

English tradition, deserves a more detailed explanation. It consists of three quatrains
and one couplet. The fourteen lines are in iambic pentameter and follow the rhyme
scheme abab cdcd efef gg. Shakespeare’s (1564–1616) sonnet “That time of year thou
may’st in me behold” (1609) fulfills these criteria:

That time of year thou may’st in me behold a

When yellow leaves, or none, or few, do hang b

Upon those boughs which shake against the cold, a

Bared ruined choirs, where late the sweet birds sang. b

In me thou see’st the twilight of such day c

As after sunset fadeth in the west; d

20
 Which by-and-by black night doth take away, c

Death’s second self that seals up all in rest. d

In me thou see’st the glowing of such fire e

That on the ashes of his youth doth lie, f

As the deathbed whereon it must expire, e

Consumed with that which it was nourished by. f

This thou perceiv’st, which makes thy love more strong, g

To love that well which thou must leave ere long. g

Each segment of this sonnet (the three quatrains and the couplet) consists of a
coherent sentence. The four sentences are connected on a thematic level by repetition:
“in me behold” in the first verse, “In me thou see’st” in the fifth and the ninth, and
“This thou perceiv’st” in the thirteenth. In each quatrain, an image is introduced
which fits into the theme of the sonnet as a whole and works toward the couplet. In
the first stanza, boughs without leaves are mentioned, followed by the setting sun and
darkness in the second, and a dying fire in the third. Images from various areas all
function as signs of mortality. In the couplet, a connection is drawn between these
signs, which are visible in the speaker’s face, and love. Indirectly, Shakespeare sees
human love as arising out of the certainty of man’s death. In this sonnet, the close
connection between formal and thematic elements is clearly visible.

Ideally, in traditional poetry, the lexical-thematic, visual and rhythmical-

acoustic dimensions—used here to illustrate the most important elements of the genre
—should link with each other. The idea of unity, according to which several levels of
expression connect, is most dominant in poetry, but, to a lesser degree, also
characterizes other genres. One ought to be cautious, however, since not every poem
subscribes to the concept of unity as its main structural goal. Experimental poetry, in
particular, abandons these seemingly rigid structures in order to explore new “open
forms,” such as poems in prose or free verse.13

13
Klarer, Mario Introduction to Literary Study. London& New York: Routledge

21
 CHAPTER III

CONCLUSION

3.1 Conclusion

The issue of the narrator, which has been dealt with in the context of point of
view and characters in the treatment of fiction, is usually referred to in poetry with the
terms “voice” or “speaker.” While imagery in traditional poetry revolves around a
transformation of objects into language, concrete poetry takes a further step toward
visual art, concentrating on the poem’s shape or visual appearance. In order to achieve
the concrete quality of poetic language, sound and tone are employed as elements
with their own levels of meaning. By choosing certain words in a line or stanza, a poet
can produce a sound or tone which is directly related to the content of the statement.
The acoustic element, like a poem’s visual appearance in concrete poetry, can
enhance the meaning of a poem.

3.2 Criticism and Suggestion

With the limitations that we have, we realize that this paper is far from perfect.
Therefore, we sincerely welcome greetings from readers with open arms for the
improvement and improvement of this paper.

22
 REFFERENCE

Anonim, https://quizlet.com/482749801/literatura-4-flash-cards/. Diakses 3 maret

pukul 9.56

cross,Holly.literary element, https://slideplayer.com/ .diakses tanggal 2 maret 2020

pukul 12.34

Klarer, Mario Introduction to Literary Study. London& New York: Routledge

munaf,Definition of theme in literature.Jurnal.IAIN raden intan lampung.

Anonim, https://www.poetry4kids.com/news/how-to-write-a-concrete-poem/. Diakses

pada 3 Maret 2020

http://www.literarydevices.com/stanza/. Diakses pada 3 Maret 2020

https://www.britannica.com/art/concrete-poetry. Diakses pada 3 Maret 2020

https://www.masterclass.com/articles/poetry-101-what-is-a-stanza-in-poetry-stanza-
definition-with-examples#how-is-formal-verse-different-from-free-verse-in-poetry.
Diakses pada 3 Maret 2020

23