Stylistics Analysis on Poem “Filipina” by Tarrosa

Subido
By: Roxanne Joyce B. Battung
School of Liberal Arts and Teacher Education
University of Cagayan Valley
Balzain, Tuguegarao City
(email) battungroxannejoyce@gmail.com
(mobile number) 09266037946

Abstract

This paper aims to analyze Tarrosa Subido’s poem entitled “Filipina” for the
perspective of stylistic analysis. The analysis is made under the aspects of phonological,
morphological, graphological, and lexico-syntactic levels. This research is helpful in
understanding the basic concepts, literal and hidden meanings of the poem.

Index Terms. Graphological level, Lexico-syntactic level, Morphological level,

Phonological level, stylistics.

I. Introduction

Style is derived from the Latin word “elocution” which means “style” and means “lexis” in Greek
(Leech, 1969). Style is the primary aspect of any literary piece of writing. Style is the basic thing which
gives uniqueness to every writer. Style is an aspect of language that deals with choices of diction, phrases,
sentences and linguistic materials that are consistent and harmonious with the subject matter. Style
involves narrative technique of a writer in terms of choice and distribution of words and character (Lawal,
1997). Style is involved in both, spoken and written, literary and nonliterary types of language but it is
particularly associated with written form of the literary texts. Style is the dress of thoughts. It is the way
of the writer to convey the message to the readers. It is upon the writer that how he makes his text
understandable that the meanings are conveyed (Leech and Short, 1981).

The word stylistics is derived from style. Stylistics is a branch of Linguistics which deals with
different styles. It refers to the study of appropriate use of words or language in a sentence or writing.
Stylistics is “the study of literary discourse from a linguistic orientation”. It is the link between literary
criticism and linguistics (Widowson, 1975). Stylistics is the (linguistic) study of style, is rarely
undertaken for its own sake, simply as an exercise in describing what use is made of language. According
to them the main objective of stylistics is to discover the meanings and appreciate the linguistic
characteristics of the text (Leech and Short, 1981).

II. Levels of Stylistics Analysis

 Stylistic analysis could be conducted by means of the levels of analysis. The
levels of stylistic analysis are identified as follows:

1. Phonological Level. Basically this level deals with the study of sound patterns
of a given language, rules of pronunciation, the rhyming scheme and
utterance of the word in the sentence. Lodge (2009) is of the view that
phonology is the study of linguistic systems, specifically the way in which
sound represents differences of meaning in a language.

2. Morphological Level. Deals with the construction of the word by adding

prefixes and suffixes to the root words. The main aim of this level is to study
and analyze the words, internal structure of sentences and their formation. To
find out foregrounding and the deviation, clauses, phrases, words, nouns and
verbs are to be distinguished.

3. Graphological Level. Crystal and Davy (1969) said that graphology is the
analogous study of a languages writing system or orthography as seen in the
various kinds of handwriting or topography. These are the formalized rules
of writing. Leech (1969) claims that graphology exceeds orthography which
refers to the whole writing system; punctuation, paragraphing and spacing.
In short, it deals with the systematic formation, structure and punctuation in
the sentence.

4. Lexico-Syntax Level. It is the group of two dissimilar words, lexis and

syntax. The term lexis means vocabulary used in a language or in any writing
for any purposes. Syntax means sentence construction, how words combine
together to make phrases and sentences. So, it is used in the construction of
the sentence as stylistics is used in literary style. Lexico-Syntactic patters may
be obtained through various means which include unusual or inverted word
order, omission of words and repetition. According to Tallerman (1998)
Lexico-Syntactic choices are obtained through devices such as pilling of usual
collocates, unusual collocates, archaic words, particular parts of speech,
metaphor, simile, oxymoron, etc.

III. Analysis of the Poem

On Phonological Level

Rhyme

For you, my love, are sung,

 The unaffecting tongue.

Are restless, rash, and strong-

Unless expressed in song.

I have tried Silence, too

My heart would speak to you.

Half-wanton, half-withholding

Would best be love's unfolding-

Have need of more than word,

Displease you, Lord.

Rhyme is likewise of word sounds. Sung and Tongue are like sounds therefore they are
rhyming words. Strong and Song also have the same sound. Too and You are also
considered rhyming words because of their sound similarity. Withholding and
Unfolding have similar sound. Word and Lord are rhyming words.

Sung and Tongue

Strong and Song
Too and You
Word and Lord

The rhyming words above are called masculine rhyme because the rhyme is in one
syllable only.

However, the words Withholding and Unfolding are called feminine rhyme because
the rhyme is between two syllables.

Rhyme Scheme

The rhyme scheme of the poem is ab, cb, de, fe, eg, hg, ij, kj, lm, nm. This
happens because the final words of the lines have different sounds.

Alliteration
 And never plainly phrased by (Line 3)
Are restless, rash, and strong- (Line 6)
I have made Speech and Song, (Line 9)
Would best be love's unfolding- (Line 16)

The words plainly and phrased in Line 3 begin with letter p, the words restless
and rash in Line 6 begin with letter r, the words speech and song in Line 9 begin
with letter s, and the words best and be in line 16 begin with letter b. The poet
uses alliteration to produce beautiful effect on the reader.

Consonance

Unless expressed in song. (Line 9)

But all interpret ill the thoughts (Line 11)

The words unless and expressed in Line 9 end with s sound. Further in Line 11, the words
all and ill have the final sound of l.

Repetition

Unless expressed in song. (Line 8)

I have made Speech and Song, (Line 9)

I have made Speech and Song, (Line 9)

I have tried Silence, too, (Line 10)

Half-wanton, half-withholding (Line 14)

And such a smile, and such a glance, (Line 15)

The word Song has been repeated two times in Lines 8 and 9, this emphasizes
how poetic and a lover of literature the author is.

The beginning words of both Line 9 and 10 starts with I have. The word half has
been repeated twice in Line 14. And the words And such a were repeated in Line
15.

On Graphological Level

Period/Full Stop (.)

The unaffecting tongue. (Line 4)

Unless expressed in song. (Line 8)
My heart would speak to you. (Line 12)
Displease you, Lord. (Line 20)

In the poem, period or full-stop is used four times as can be seen in Line 4, 8, 12 and
20.Period or full-stop is used to end a complete thought not necessarily the end of a
stanza; it is also used to end the whole poem.

Comma (,)

For you, my love, are sung, (Line 2)

Are restless, rash, and strong- (Line 6)
I have made Speech and Song, (Line 9)
I have tried Silence, too, (Line 10)
A motion of the hand, perhaps (Line 13)
Half-wanton, half-withholding (Line 14)
And such a smile, and such a glance, (Line 15)
Have need of more than word, (Line 18)
Displease you, Lord. (Line 20)

In the poem, the comma is used fourteen times (14 x)as can be seen in Lines 2, 6, 9, 10,
13, 14, 15, 18 and 20. The poet employs comma for short pause and to separate
sentential elements in the poem.

Hyphen (-)

Are restless, rash, and strong- (Line 6)

Half-wanton, half-withholding (Line 14)
Would best be love's unfolding- (Line 16)

In the poem, the punctuation mark is used four times as can be seen in Lines 6, 14, and
16. Hyphen is used to join words to indicate that they have a combined meaning or that
they are linked in the grammar of a sentence, to indicate the division of a word at the
end of a line, or to indicate a missing or implied element.

Capitalization

I have made Speech and Song, (Line 9)

I have tried Silence, too, (Line 10)
Displease you, Lord. (Line 20)

In the poem, capitalization is used four times as can be seen in Lines 9, 10 and 20.
Capitalization is used to emphasize a noun.
On Morphological Level

Affixation

You wonder why my feelings

And never plainlyphrased by
The unaffecting tongue.
It is because my passions
Are restless, rash, and strong-
To native sense immodest
Unless expressed in song.
But all interpret ill the thoughts
Half-wanton, half-withholding
Would best be love's unfolding-
Meaning that while my sentiments
I dare not by a brazen move
Displease you, Lord.

On Lexico-Syntax Level

Personification

The unaffectingtongue. (Line 4)

My heart would speak to you. (Line 12)

A motion of the hand, perhaps (Line 13)

The poet articulates his thoughts through the use of personification. Personification is a
figure of speech in which human attributes are conferred upon things that are not
human. In the poem, the words unaffecting tongue (Line 4), heart would speak (Line 12),
motion of the hand (Line 13), are used in human attributes.

Allusion

Displease you, Lord.

Allusion is used once in the poem. Allusion is a figure of speech used as an expression
designed to call something to mind without mentioning it explicitly; an indirect or
passing reference.

IV. CONCLUSION
 Trinidad Tarrosa Subido uses simple words and phrases to make her literary
piece understandable. By using different literary devices such as personification and
allusion, the poet makes the poem more effective to convey her message and to show
the behavior of a Filipina who is in love – she is bound by tradition to remain modest in
speech and action, but is urged by overpowering love to express herself in some way.
Thus, “FILIPINA” is a poem which shows the poet’s religious expectation to Filipinas to
act accordingly and remain their modesty and not to be dominated by the liberation of
the foreign countries. Stylistics, by this analysis, has shown that there is a distinction
between poetic and non-poetic language as a means of defining literature, language
manipulated in ways that signal it as different from ordinary language.

APPENDIX
 FILIPINA
Tarrosa Subido

You wonder why my feelings

For you, my love, are sung,
And never plainly phrased by
The unaffecting tongue.
It is because my passions
Are restless, rash, and strong-
To native sense immodest
Unless expressed in song.

I have made Speech and Song,

I have tried Silence, too,
But all interpret ill the thoughts
My heart would speak to you.

A motion of the hand, perhaps

Half-wanton, half-withholding
And such a smile, and such a glance,
Would best be love's unfolding-
Meaning that while my sentiments
Have need of more than word,
I dare not by a brazen move
Displease you, Lord.

About the Author

 Roxanne Joyce B. Battung is a fourth-year
student, currently taking up Bachelor in Secondary
Education, Major in English at University of Cagayan
Valley. She’s the youngest among the three off-springs
of Mr. and Mrs. Romeo Battung. She’s fond of reading
books and writing poems. She’s a lover of cats but
never had one.
She just had an interest in Philippine History due to reading
historical novels in an online platform called Wattpad. She’s a total
introvert and prefers being alone in her room listening to music than
hanging out with her friends but she loves adventure so much, only if she
will venture alone.