Stylistic Analysis On Short Story “The Wedding Dance” by Amador

Daguio

By: John Carlo Luis Palad

Bachelor of Secondary Education Major in English
Occidental Mindoro State College
Johncarlopalad02@gmail.com

ABSTRACT

This study aims to analyze the short story The Tell-Tale Heart by Edgar Allan Poe. Stylistic tools
such as lexical, syntactic and phonological schemes are focused during the analysis of the story.
Keywords: stylistics, phonological level, lexical level, syntactic level
Stylistics is study of the devices in languages (such as rhetorical figures and syntactical patterns)
that are considered to produce expressive or literary style.
The phonological level is concerned with the phonetic resources as they are used in a given
language, it studies the sound system. Phonology is organized in units (tone group which carries
contrasts of intonation, the foot which carries the rhythm, syllable which carries contrasts of
stress, and phoneme which is the smallest phonological unit)
Lexical level includes the study of individual words and idioms in different linguistics contexts.
It involves the study of semantics, word formation, and morphology. Analyzing the Lexical
Level means analyzing vocabulary / diction such as: vocabulary items, parts ofspeech of words
(major repeated words) and words of tenderness, cruelty, nature.
Syntactic Level studies the type of relation between these units and the study of the sentence and
its types and specifically the study of relations between different parts of the sentence have had a
long history..
Stylistics is simply defined as the study of styles. This implies that style is central to the study of
Stylistics. In his definition of Stylistics, Tom Mc Arthur (1996:914) says, “it is the branch of
linguistics that studies style, especially in works of literature”.

Introduction of the Author

Amador Daguio was a Filipino poet, novelist and teacher during the pre-war. He was best known
for his fictions and poems. He had published two volumes of poetry, “Bataan Harvest” and”The
Flaming Lyre”. He served as chief editor for the Philippine House of Representatives before he
died in 1966. Daguio was born 8 January 1912 in Laoag, Ilocos Norte, but grew up in Lubuagan,
Mountain Province, he considered as one of the prominent figures in Philippine literature.
Daguio’s writings often explore themes of love, culture, and tradition.

Introduction to the short story

“The Wedding Dance” is a short story by Amador Daguio that revolves around the lives of a
couple, Awiyao and Lumnay, who belong to the Bontok tribe in the Philippines. The story
explores the cultural practice of divorce in their tribe, as well as themes of tradition, love, and
sacrifice.

Literary Devices:
Symbolism: Symbolism is the use of symbols to represent ideas or qualities. In the story, the
dance itself is a powerful symbol. It represents the cultural traditions and societal expectations of
the characters. For example, the dance symbolizes the pressure and obligation for Awiyao and
Lumnay to conform to their tribe’s customs, even if it means sacrificing their personal happiness.
Irony: Irony is when there’s a contrast between what is expected and what actually happens. In
the story, there is situational irony when Awiyao goes to the wedding dance to find a new wife
because he wants to have children, but his former wife Lumnay is the one who desperately wants
to bear his children. This creates a poignant and ironic situation as their desires conflict.
Imagery: Imagery involves the use of vivid and descriptive language to create mental pictures
for the readers. In “The Wedding Dance,” the author employs imagery to describe the setting, the
characters, and their emotions. For example, when describing the mountain terrain and the
characters’ clothing, Daguio uses imagery to help readers visualize the scene and understand the
cultural context.
Foreshadowing: Foreshadowing is a literary device that hints at future events or outcomes. In
the story, there is foreshadowing when Lumnay reflects on her relationship with Awiyao and the
impending wedding dance. Her inner thoughts and emotions foreshadow the bittersweet ending
and the sacrifices she will make.

Plot Summary:
“The Wedding Dance” by Amador Daguio is a short story set in a rural Philippine village. It
revolves around the marriage of Awiyao and Lumnay. Awiyao seeks a divorce because his wife
cannot bear him a child, which is essential in their culture. The story explores themes of
tradition, sacrifice, and the cultural expectations placed on individuals. Lumnay ultimately
sacrifices her chance for love to honor tradition, and the story highlights the harsh realities of
their culture’s customs.
Setting: The story is set in a small Filipino village, where traditions and customs play a
significant role in daily life. The story is set in a rural, mountainous region, which plays a
significant role in shaping the characters’ lives and decisions.
Characters: Awiyao, Lumnay, and Madulimay are the central characters. Awiyao seeks a child,
Lumnay yearns for his love, and Madulimay represents the possibility of fulfilling Awiyao’s
desire.
Tone: The tone is bittersweet, reflecting the conflict between love and tradition.
Mood: The mood is melancholic, as Lumnay grapples with her emotions and the impending loss
of her husband.
Point of View: The story is narrated from a third-person limited perspective, primarily following
Lumnay’s thoughts and feelings.
Themes: The main themes include the clash of tradition and personal desires, the sacrifices made
for love, and the resilience of the human spirit.

Analysis of the story:

Phonological level: The story uses Filipino language elements and incorporates native terms and
phrases to create an authentic cultural atmosphere.

• Phonemes and Pronunciation: The story is written in standard English, so it doesn’t

contain many notable phonological features specific to regional accents or dialects.

• Dialogue Tags: The use of dialogue tags like “Awiyao,” “Lumnay,” and “Narrator” helps
distinguish the speakers in the story. These tags guide the reader in identifying who is
speaking at any given time.

• Repetition for Emphasis: There’s repetition of phrases like “You know it, don’t you?”
and “I know” in Awiyao and Lumnay’s conversation. This repetition serves as a
phonological device to emphasize the characters’ feelings and the significance of their
words.

• Emotional Expression: The story uses exclamation marks to convey emotional intensity
in certain dialogues, such as “Awiyao! Awiyao!” This punctuation choice enhances the
phonological aspect by indicating the characters’ heightened emotions.
 • Onomatopoeia: The story briefly mentions “gangsas playing,” which is an example of
onomatopoeia as it imitates the sound of traditional gongs, adding a phonological element
to the narrative.

• Dialogue Flow: The flow of dialogue and the use of quotation marks help structure the
phonological aspects of the story, distinguishing between character speech and the
narrator’s descriptions.

• Narrator’s Voice: The narrator’s voice maintains a consistent phonological style

throughout the story, providing a cohesive tone and rhythm to the narrative.

While the story’s primary focus is on its narrative and emotional content, these phonological
elements contribute to the overall reading experience by adding rhythm, emotion, and clarity to
the dialogue and storytelling.

Syntactic level: Daguio’s use of sentence structure and pacing helps convey the emotional
tension and gradual progression of the plot.
“The Wedding Dance” by Amador Daguio involves the arrangement and structure of sentences
and phrases to convey the narrative.

Simple sentences:
• “Long ago, in a mountain somewhere in the Philippines, there was a couple named
Awiyao and Lumnay.”
• “You know it Lumnay, don’t you?”

Dialogue tags and direct speech:

• “Awiyao: ‘I’m sorry this had to be done. I am really sorry.’”
• “Lumnay: ‘I don’t want any man.’”

Complex sentences:
 • “Lumnay had thought of seven harvests that passed, the high hopes they had in the
beginning of their new life together.”
• “Awiyao started to tell what he had been through, he told her that he missed her a lot and
sometimes he and Madulimay would argue.”

Interrupted and extended sentences:

• “Awiyao: ‘This house is yours,’ I built it for you. Make it for your own; live in it as long
as you wish.”
• “Lumnay: ‘Awiyao, Awiyao, my husband,’ (cried) ‘I did everything to have a child,’
‘Look at me,’ (she cried).”

Short, impactful sentences for emphasis:

• “It is not right. It is not right!”
• “Awiyao? Awiyao: ‘Lumnay! Lumnay: ‘What happened? Tell me, I will listen.’”

These examples demonstrate the varied sentence structures used to convey the characters’
emotions, dialogues, and the progression of the story’s events.

Lexical level: The choice of words and phrases reflects the cultural nuances of the characters’
speech and their emotional states.

Conjunctions: Nouns: Verbs: Adverbs: Adjectives: Prepositions: Pronouns:

but couple marry really long in they

and girl join not another for he
because separation dance very good of she
if husband hate once strong to me
although ceremony blame now firm with us
then wife pray wildly high on you
or marriage appease slowly beautiful by her
until house bless even whole from him
so field vanish still wonderful at it
that beads scold ever vivid beside we

Concluding remark:
“The Wedding Dance” by Amador Daguio is a poignant exploration of love and tradition within
the context of a Philippine tribal culture. The story’s rich literary devices and elements contribute
to its emotional depth and authenticity. Daguio’s narrative skillfully examines the complexities
of human emotions, cultural practices, and the sacrifices individuals make for the sake of
tradition. This story remains a powerful reflection of universal themes that resonate with readers
across cultures.

References:
https://peoplepill.com/people/amador-daguio
https://weddance.wordpress.com/about-the-author-2/
https://www.studocu.com/ph/document/philippine-normal-university/filipino/the-wedding-
dance-full-text-of-the-short-story/22634605
https://www.google.com/amp/s/www.storyboardthat.com/lesson-plans/wedding-dance-by-
amador-daguio/characters/amp
http://www.cordilleransun.com/2021/09/the-wedding-dance-by-amador-t-daguio.html?m=1

APPENDIX

Long ago, in a mountain somewhere in the Philippines, there was a couple named Awiyao and
Lumnay. They were married for a long time but Awiyao, Lumnay’s husband has to marry
another girl named Madulimay. Awiyao: “I’m sorry this had to be done. I am really sorry. But
neither of us can help it.” “Why don’t you go out and join the dancing women?” “You should
join the dancers,” “as if nothing had happened.” “Go out – go out and dance. If you really don’t
hate me for this separation, go out and dance. One of the men will see you dance well; he will
like your dancing, he will marry you. Who knows but that, with him, you will be luckier that you
were with me?” Lumnay: “I don’t want any man,” “I don’t want any other man.” Awiyao: “You
know very well that I won’t any other woman either. You know that, don’t you? Lumnay, you
know it, don’t you? “You know it Lumnay, don’t you?” (He repeated) Lumnay: “Yes, I know.”
Awiyao: “it is not my fault, you cannot blame me; I have been a good husband to you.” Lumnay:
“Neither can you blame me.” Awiyao: “No, you have been very good to me. You have been a
good wife. I have nothing to say against you.” “It’s only that a man must have a child. Seven
harvests is just too long to wait. Yes, we have waited too long. We should have another chance
before it is too late for both of us.” Lumnay: “You know that I have done my best,” “I have
prayed to kabunyan much. I have sacrificed many chickens in my prayers.” Awiyao: Yes, I
know.” Lumnay:”You remember how angry you were once when you came home from your
work in the terrace because I butchered one of our pigs without your permission? I did it to
appease kabunyan, because like you, I wanted to have a child. But what could I do?”
Awiyao: “kabuyan does not see fit for us to have a child.” (Silenced) Awiyao: “I came home,”
“because I did not find you among the dancers. Of course, I am not forcing you to come, if you
don’t want to join my wedding ceremony. I came to tell you Madulimay, although I am marrying
her, can never become as good as you are. She is not strong in painting beans, not as fast in
cleaning water jars, not as good keeping a house clean. You are one of the best wives in the
whole village.” Lumnay: “That has not done me any good, has it?” (Looked lovingly to Awiyao)
(Awiyao held her face but Lumnay’s eyes looked away.) (Let go of her face, bent on floor)
Awiyao: “This house is yours,” I built it for you. Make it for your own; live in it as long as you
wish. I will build another house for Madulimay.” Lumnay: “I have no need for a house,” “I’ll go
to my own house. My parents are old. They will need help in the planting of the beans, in the
pounding of the rice.” Awiyao: “I will give you the field that I dug out of the mountains during
the first year of our marriage,” “You know I did it for you. You helped me to make it for you the
two of us.” Lumnay: “I have no use for any field.” (He looked at her, then turned away) (Became
silent) “Go back to the dance,” “It is not right for you to be here. They will wonder where you
are, and Madulimay will not feel good. Go back to the dance.” Awiyao: “I would feel better if
you come and dance – for the last time. The gangsas are playing.” Lumnay: “You know that I
cannot.”

Awiyao: “Lumnay,” “Lumnay, if I did this it is because of my need for a child. You know that
life is not worth living without a child. The men have mocked me behind my back. You know
that.” Lumnay: “I know it,” “I will pray that kabunyan will bless you and Madulimay.”

(She bit her lips now, then shook her head wildly, and sobbed.) Narrator: “Lumnay had thought
of seven harvests that passed, the high hopes they had in the beginning of their new life together,
they day he took her away from her parents across the roaring river on the other side of the
mountain. Quite an exhausting trip but both of them were happy that nothing in this world can
measure. He was the most beautiful man that she has ever seen- he was strong and for that she
had lost him. (She flung herself upon his knees and clung to them and cried) Lumnay: “Awiyao,
Awiyao, my husband,” (cried) “I did everything to have a child,” “Look at me,” (she cried).
“Look at my body. Then it was full of promise. I could dance; I could work fast in the fields; I
could climb the mountain fast. Even now it is firm, full. But, Awiyao, I am useless. I must die.”
Awiyao: “It will not be right to die.” (Awiyao hug her in his arms) Lumnay: “I don’t care about
the fields,” “I don’t care about the house. I don’t care for anything but you. “I’ll have no other
man.” Awiyao: “Then you’ll always be fruitless.” Lumnay: “I’ll go back to my father, I’ll die.”
Awiyao: “Then you hate me,” If you die it means you hate me. You do not want me to have a
child. You do not want my name to live in our tribe.” “If I do not try a second time,” “It means
I’ll die. Nobody will get the fields I have carved out of the mountains; nobody will come after
me.” Lumnay: “If you fail – if you fail this second time.” “No – no, I don’t want you to fail.”
Awiyao: “If I fail, I’ll come back to you. Then both of us will die together. Both of us will vanish
from the life of our tribe. Lumnay: I’ll keep my beads”, “Awiyao, let me keep my beads.”
Awiyao: “You will keep the beads.” Lumnay: “I’ll keep them because they stand for the love
you have for me.” “I love you. I love you and nothing to give.” Tribe People: “Awiyao! Awiyao!
O Awiyao! They are looking for you at the dance!” Awiyao: “I’m not in hurry.”

Lumnay: “The elders will scold you. You had better go.” Awiyao: “Not until you tell me that it is
all right with you.” Lumnay: “It is all right with me.” Awiyao: “I do this for the sake of the
tribe.” Lumnay: “I know….” (He went to this door.) Lumnay: “Awiyao!” Narrator: He stopped
as if suddenly hit by a spear. In pain he turned to her. Her face was in agony. It pained him to
leave. She had been wonderful to him. Lumnay: “Awiyao’ the beads!” Narrator: Awiyao turned
back and walked to the farthest corner of their room. He dug out from the darkness the beads
which had been given to him by his grandmother to give to Lumnay on the beads on and them in
place. The white and jade and deep orange obsidians shone in the firelight. She suddenly clung to
him, clung to his neck as if she would never let him go. Lumnay: “Awiyao! Awiyao, it is hard!”
Tribe People: Awiyao! Awiyao! Come out now! Lumnay: “It is not right. It is not right!” “How
does she know? How can anybody know? It is not right.” ENDING: Narrator: “It was a great
day. The sun started to rise up from the east and the wind was blowing in her face for the past
two harvests, Lumnay was living her father. And she never forgets about Awiyao. They were
times during the harvest that Lumnay imagined Awiyao carrying beans together with some men
of her father tribe. Even compared to Ilkin who was her childhood friend and rumored that ilkin
was planning to ask her father for her hand in marriage. But Lumnay would just smile
remembering that nothing would surpass her Awiyao. One early dawn, while Lumnay was still
sleeping, she was dreaming that Awiyao was sitting beside her and watching her, she even felt
that Awiyao was caressing her face. It was vivid dreams as if like a real one. Then slowly
Lumnay opened her eyes and there she saw the love of her life he ever handsome Awiyao sitting,
beside her staring and smiling at her. At

First she could not believe it, she thought that she was just hallucinating so she bowed her head
and blinked for a while then raised her head but image was still there so she lifts her hand and
touched his face. It was warm and smooth then she smiled and her eyes started to cry. Lumnay:
“Awiyao? Awiyao: “Lumnay! Lumnay: “What happened? Tell me, I will listen. (As they hugged
each other) Narrator: Awiyao started to tell what he had been through. He told her that he missed
her a lot and sometimes he and Madulimay would argue. That during the harvest, he and
Madulimay had tried everything, even then were not blessed with child. So Awiyao and
Madulimay agreed to separate that she would still marry to redeem herself. So Awiyao travelled
to the far side of the mountains to where Lumnay tribes live. And asked her for forgiveness and
if she could still accept him. See hugged Awiyao and agreed. From then on Awiyao and Lumnay
live happy until there last days.

About the Author

John Carlo Luis Palad is a student of the Occidental Mindoro State College taking a Bachelor of
Secondary Education Major in English , he is now a third year college student. A son of Emer
Jane Luis Palad and Alex Tolentino Palad. He is a singer composer, a chief, dancer and an
athlete.