HANDOUT 1

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Bab 1

Introduction

1.1 Background

Poetry analysis is the process of investigating a poem's form,

content, and history in an informed way, with the aim of heightening one's

own and others' understanding and appreciation of the work. Poetry uses

forms and conventions to suggest differential interpretation to words, or to

evoke emotive responses. Devices such as assonance, alliteration,

onomatopoeia and rhythm are sometimes used to achieve musical or

incantatory effects. The use of ambiguity, symbolism, irony and other

stylistic elements of poetic diction often leaves a poem open to multiple

interpretations. Similarly, metaphor, simile and metonymy[4] create a

resonance between otherwise disparate images—a layering of meanings,

forming connections previously not perceived. Kindred forms of

resonance may exist, between individual verses, in their patterns of rhyme

or rhythm. (http://en.wikipedia.org/wiki/Poetry_analysis)

Stanford begins The Tragedy of the Negro in America by

distinguishing between the authorized tragedy of black Americans,

represented by slavery, with the unauthorized tragedy of post-bellum

injustice. In discussing the authorized tragedy, Stanford describes the first

attempts at colonizing and Christianizing black communities in the West

Indies, and moves on to the first importation of blacks into the American

colonies. He condemns the false Christianity that allowed slavery to

continue and grow throughout the 17th and 18th centuries. Stanford

acknowledges the good deeds done by various religious sects (particularly

the Quakers) and praises the New England states for the restriction or

abolition of slavery. In describing the unauthorized tragedy, Stanford

blames Andrew Johnson for failing to control racist legislation in the

southern states and allowing the freedmen to suffer under economic

conditions little better than those suffered under slavery. He also describes

the perversion of the justice system to allow for the ritual denigration of

African Americans. The Tragedy of the Negro in America by

distinguishing between the authorized tragedy of black Americans,

represented by slavery, with the unauthorized tragedy of post-bellum

injustice. In discussing the authorized tragedy, he describes the first

attempts at colonizing and Christianizing black communities in the West

Indies, and moves on to the first importation of blacks into the American

colonies that allowed slavery to continue and grow throughout the 17th

and 18th centuries.

(http://docsouth.unc.edu/church/stanford/summary.html)

1.2 Thesis Statement

“the black man life”.

Bab II

Discussion

2.1Stanzaic pattern

`It is the `Negro’s `tragedy I feel a

/′ - / - ′ /- ′ /- ′ /- ′ /→ Iambic pentameter with a trochaic

on the 1st foot

Which `binds me `like a `heavy `iron `chain, b

/- ′ /- ′ / - ′/ - ′ /- ′ /→ Iambic pentameter

`It is the `Negro’s ‘wounds I `want to `heal a

/′ - /- ′/ - ′ / - ′ / - ′/→Iambic pentameter with a trochaic

on the 1st foot

Be′cause I `know the ′keenness of his `pain. b

/- ′ /- ′ / - ′ /- - / - ′ /→Iambic pentameter with a

pyrrhic 4th foot

Only a `thorn-crowned `Negro and no `white c

/ ′ - /- ′ / ′ - / ′ - /- - ′/ →trochaic pentameter with an

anapest on 5th foot

′Can pene`trate in′to the `Negro’s ′ken d

/′ -/ - ′ / - ′/ - ′/ - ′/→iambic pentameter with a

trochaic on 1st foot

Or `feel the `thickness of the `shroud of `night c

/- ′ /- ′ /- -/ - ′ / - ′ /→iambic pentameter with a

pyrrhic on 3rd foot

Which `hides and `buries him from `other `men. d

/- ′ / - ′/ - - /- ′/- ′/→ iambic pentameter with a

pyrrhic on 3rd foot

So `what I `write is shot `out of my `blood. E

/- ′ /- ′ /- - / ′ -/ - ′ / → iambic pentameter with

sprung rhythm

`There is no `white man who could `write my `book f

/′ -/ - ′ / - - / - ′ / - ′ /→iambic pentameter

with sprung rhythm

Though `many `think the `story can be `told g

/- ′ / ′ -/ ′ - / - ′ /→iambic tetrameter with a

trochaic on 2nd and 3th foot.

Of `what the `Negro `people `ought to `brook. F

/- ′ / - ′ / ′ ′ / - ′ /→iambic tetrameter with a

spondaic on 3th foot

Our `statesmen `roam the `world to `set things `right. H

This `Negro `laughs, and `prays to `God for `Light! h

2.2Rhyme and Rhythm→ There are two stanza in this poem ( the Negro’s Tragedy ) the first

stanza is octave because in one stanza consist of eight line. And

the second stanza is sestet, it is called sestet because in one stanza

consist of six line.

→ Several variation of rhyme

The first is Perfect rhyme, on the first stanza line two and four in

the last word “Which binds me like a heavy iron chain” “Because

I know the keenness of his pain” , and the second in the “Our

statesmen roam the world to set things right”. “ This Negro laughs,

and prays to God for Light!”

→ rhythm

The rhythm this poem used run- on line and end stopped line.

→ Inference about the rhyme scheme and metrical analysis

The stanza have identical rhyme scheme that are iambic pentameter with a

sprung rhythm. In this poem the word Negro are repeated almost in every

stanza. The word also keep reminding the readers of the poem about the

speakers and his feeling about the tragedy of Negro people on that century.

Every stanza show the pain of black people that only black people feel it

“The Negro’s tragedy” was first published without this title in the July-

August issue of The Catholic Worker.

“The Negro’s Tragedy” is an identity politics poem excellence—

complicated by the Christology that McKay develops throughout The

Catholic Worker sonnets. The speaker feels the “Negro’s tragedy” and

wants to heal “his pain” in the first quatrain. In the second, such positive

declarations give way to exclusionary ones: whites are excluded from the

“Negro’s ken,” or point of view.

Only a thorn-crowned Negro and no white

Can penetrate into the Negro’s ken

(“The Negro’s Tragedy” ll. 5-6)

He identifies himself with the tragedy of the Negro, the pain and suffering

experienced by the Negro race. The poet says that no white man

understands the situation of the black man, though many think that they

do. A white man cannot "penetrate into the Negro's ken," and he cannot

feel the Negro's isolation from other men.

2.3Figurative language Simile

“……which binds me like a heavy iron chain” (stanza one line 1-

2). Use word “ like” here are compared two things between “ bind

me and heavy iron chain”

Personification

“…..Or feel the thickness of the shroud of night Which hides and

buries him from other men. (stanza 1 line 7-8). the shroud of night

can’t hide or buries the man from the other man. The use of words

hide and buries may add dramatic effect on the tragic experience.

Hyperbole

“So what I write is shot out of my blood” ( stanza 2 line 1 ). All the

Negro’s tragedy really tragic. The speakers use this figurative

language to show that what he write about tragedy is like shot his

blood, and I thing this line sounds like hyperbole.

Atmosphere

Tragic ( on the first stanza line 4 – 8)

Can penetrate into the Negro’s ken

Or feel the thickness of the shroud of night

Which hides and buries him from other men

“Because I know the keenness of his pain.

Only a thorn-crowned Negro and no white”

Diction

“Bind means tie or fasten, shrouds means cover ”

2.4Biographical Information

Claude McKay (1889-1948) is a pioneering-poet of Harlem Renaissance. In

the early 20th century, the Americans saw a revival of African Culture and

its expression through many artistic forms like music, dancing and poetry.

McKay was born with ‘black and blue’ colour and brought up in the racial

Jamaica. So very early in his life he was exposed to the racial-attitude of

the white people. As a result, racial consciousness had become a part and

parcel of his life. He was one of the members of the group of very sensitive

black intellectuals and artists who had gathered in the name of race and

color, to give an unprecedented exposure to their problems, hopes and

aspirations.

2.5Historical Information The Tragedy of the Negro in America by distinguishing between the

authorized tragedy of black Americans, represented by slavery, with the

unauthorized tragedy of post-bellum injustice. In discussing the authorized

tragedy, he describes the first attempts at colonizing and Christianizing

black communities in the West Indies, and moves on to the first

importation of blacks into the American colonies that allowed slavery to

continue and grow throughout the 17th and 18th centuries.

Bab III

Conclussion

3.1Summary of analysis

3.2Massage

Massage of the poem

1. In this world whatever it is always have differences, the important

things is ourselves face it.

2. There is always light every darkness.

References

http://docsouth.unc.edu/church/stanford/summary.html

http://en.wikipedia.org/wiki/Poetry_analysis

http://www.english.illinois.edu/maps/poets/m_r/mckay/cooper.htm

http://facpub.stjohns.edu/~ganterg/sjureview/vol2-2/11Lowney-

McKay.htm

http://www.librarything.com/tag/the+negro%27s+tragedy+

%28poem+by+claude+mckay%29

HANDOUT 2

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BAB I. INTRODUCTIONa. Summary of the poem

This poem told about the speaker wanted to be remembered by her love. She knew that she would die and she asked to her love for always remembering him in his life. Nevertheless, she realized that the darkness and the corruption from herself could make her love became sad, so she changed her mind to forgot her than remembered her.

b. The poem’s major themeSomeone who wants to make people arround him/her do not be

sorrowful. We choose this theme because in each line of the poem explains that the writer wants to be remembered by her lover. However, she realizes if her love still remember her when she has gone, it will just make him sad.

BAB II. DISCUSSIONa. Stanzaic Pattern

Stanzaic form: 1 octave and 1 sestet; General rhyme pattern: a-b-b-a; written in iambic pentameter in most lines and iambic pentameter with trochee in line 7 and line 13.

b. Rhyme and RhythmREMEMBER

By : Christina Rosetti

 Remember me when I am gone away, a/ ͜ -/ ͜ -/ ͜ -/ ͜ -/ ͜ - IAMBIC PENTAMETERGone far away into the silent land; b/ ͜ - / ͜ -/ ͜ -/ ͜ -/ ͜ - IAMBIC PENTAMETERWhen you can no more hold me by the hand, b/ ͜ -/ ͜ -/ ͜ -/ ͜ -/ ͜ - IAMBIC PENTAMETERNor I half turn to go yet turning stay. a/ ͜ -/ ͜ -/ ͜ -/ ͜ -/ ͜ - IAMBIC PENTAMETERRemember me when no more day by day a/ ͜ -/ ͜ -/ ͜ -/ ͜ -/ ͜ - IAMBIC PENTAMETERYou tell me of our future that you plann’d: b/ ͜ -/ ͜ -/ ͜ -/ ͜ -/ ͜ - IAMBIC PENTAMETEROnly remember me; you understand b/ - ͜ / ͜ -/ ͜ -/ ͜ -/ ͜ - IAMBIC PENTAMETER WITH TROCHEE ON THE 1st

It will be late to counsel then or pray. a

/ ͜ -/ ͜ -/ ͜ -/ ͜ -/ ͜ - IAMBIC PENTAMETERYet if you should forget me for a while c/ ͜ -/ ͜ -/ ͜ -/ ͜ -/ ͜ - IAMBIC PENTAMETERAnd afterwards remember, do not grieve: d/ ͜ -/ ͜ -/ ͜ -/ ͜ -/ ͜ - IAMBIC PENTAMETERFor if the darkness and corruption leave d/ ͜ -/ ͜ -/ ͜ -/ ͜ -/ ͜ - IAMBIC PENTAMETERA vestige of the thoughts that one I had, e/ ͜ -/ ͜ -/ ͜ -/ ͜ -/ ͜ - IAMBIC PENTAMETERBetter by far you should forget and smile c/- ͜ / ͜ -/ ͜ -/ ͜ -/ ͜ - IAMBIC PENTAMETER WITH TROCHEE ON THE 1st

Than that you should remember and be sad . e/ ͜ -/ ͜ -/ ͜ -/ ͜ -/ ͜ - IAMBIC PENTAMETER

c. Figurative language/dictionFigurative Language:->metaphoreGone far away into the silent land.silent land = graveyardThe silent land refers to the graveyard because as we know graveyard is a place of the dead body. Also, as we can imagine the place is so silent.for if the darkness and corruption leavethe darkness refers to the hell because it symbolizes something that dark, spooky, the worst place. Then, the corruption refers to the physical decay due to her illness, and also it refers to the physical decay after death in the grave. A vestige of the thoughts that once I had,A vestigeof the thoughts refers to the memory of the writer that remains in her love. ->hyperboleRemember me when no more day by dayIt is too exaggerated because as we know that days always exist except doomsday.

Diction:-> and afterwards remember, do not grieve:The writer uses “grieve” in her poem to show the deep condolence of losing someone that he loves. ->for if the darkness and corruption leaveThe darkness symbolizes gloomy and spooky mood in the poem because she wanted to make her love really forget her. Moreover,an online article stated that “corruption was a term often used in the Bible refers to the physical decay of death as well as moral decline(see Acts 13:36-37, Isaiah 38:17)” (“Imagery, symbolism and themes”: 2013).

d. Biographical Approach

Christina Rossetti was born in December 5th,1830. She lived in extraordinarily gifted family. Her father, Gabrielle Rossetti was an Italian poet and a politic exile. He married with Frances Polidory in 1826 and they had four children, they are Maria Francesca in 1827, Gabriel Charles Dante in 1828, William Michael in 1829, and Christina Georgina in 1830. Maria Francesca, her elder sister was died in November, 1876. Then, her father was died in 1882 and she followed her mother who was really religious. In the early 1860’s, Rossetti fell in love with Charles Cayley.It was ten years after this, in the early 1860’s, when Christina was thirty, she met and felt in love with Charles Cayley, the scholarly translator of Dante. They really loved each other and made commitment to engage, but Cayley and Christina could not marry and live together because of their different religion. Therefore, it was the reason that made she refused to marry him in the late 60’s. From their broke up, in 1862 she made the “Remember” poem for Cayley.This biographical approach connected with the theme of this poem. She had sufferedthe sickness since she was 15 years old. Because of that, she thought she would die and almost of her poetry told about the death. It also influenced to this poem which was for Cayley that had the love and death theme. Finally in 1892, she got the truth diagnosis after suffering the sickness for years. She was diagnosed with breast cancer and died in December 29th, 1894.

e. Historical Approach“The Victorian Period literally describes the events in the age of

Queen Victoria’s reign of 1837-1901. The term Victorian has connotations of repression and social conformity.However in the realm of poetry these labels are some what misplaced. The Victorian age provided a significant development of poetic ideals such as the increased use of the Sonnet as a poetic form, which was to influence later modern poets.Christina Rossetti in some ways could be viewed as a more typical Victorian poet. Her poetry reflected her deep Anglican faith and frequently pursued themes such as love and faith”(“Victorian Poet”:n.d).

-- References :- . 2013. Imagery, Symbolism and Themes in Rossetti’s Remember. Crossref-it :

Text in Context. Retrieved on May 19, 2013 fromhttp://www.crossref-it.info/textguide/The-poetry-of-Christina-Rossetti/28/1853 .

- . n.d. Victorian Poets. Poet Seers. Retrieved on May 19, 2013 from http://www.poetseers.org/the-great-poets/victorian-poets/ .

HANDOUT 3

BAB. 1 INTRODUCTION 1.1 BACKGROUND INFO

“If” is a didactic poem, a work meant to give instruction. “If” gives an instruction in cultivating several specific traits of a good leader. Kipling offers this instruction not through listing specific characteristics, but by providing concrete illustrations of the complex actions a man should or should not take which would reflect these characteristics. The poem is about moral lessons and conduct. It contains advice from a father to a son on how to grow up to be a better person and a true man. He reminds his son that he will be a Man if he can hold on to his values and not be swayed by others. If he follows his advice, he will have a rewarding and enriching life. He will have everything he can wish for.

The poem's speaker says that if you can keep your head while those around you lose theirs; if you can trust yourself when others doubt you; if you can be patient and not lose your temper; if you can handle being lied about but not lie yourself, and being hated but not hating yourself; if you do not look too good or talk too wise: If you can dream but not let those dreams cloud your reason; if you can think but still take action; if you can deal with both triumph and disaster; if you can handle it when others twist your truths into lies, or take the things you devoted your life to and turn them from broken into alive again: If you can take all of your winnings and bet them in one fell swoop and lose them all

and then keep it a secret; if you can use your heart and muscles and nerves to hold on even when there is only Will left: If you can remain virtuous among people and talk with Kings without becoming pretentious; if you can handle foes and friends with ease; if you see that men count on you but not too much; if you can fill every minute with meaning: Then you have all the Earth and everything upon it, and, as the speaker exultantly ends, "you'll be a Man, my son!"

1.2 MAJOR THEME

The major theme is that of manhood and leadership particularly during difficult times. 

BAB 2. DISCUSSION2.1 STANZAIC FORMS

_ ᴗ / _ ᴗ / - ᴗ / _ ᴗ / _ ᴗ / _If ‘you / can ‘keep / your ‘head / when ‘all / a’bout/ you

A   Iambic pentameter with incomplete foot_ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗAre ‘los / ing‘theirs / and ‘blam / ing‘it / on ‘you, A   Iambic pentameter_ ᴗ / _ ᴗ / - ᴗ / _ ᴗ / _ ᴗ / _If ‘you / can ‘trust / your’self/ when ‘all / men ‘doubt / you, AIambic withincomplete foot_ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗBut ‘make / ‘allow / ance‘for / their ‘doubt / ing‘too; A   Iambic pentameter_ ᴗ / _ ᴗ / - ᴗ / _ ᴗ / _ ᴗ / _If ‘you / can ‘wait / and ‘not / be ‘tired / by ‘wait / ing, BIambic pentameter with incomplete foot_ _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗOr ‘being / lied ‘a / bout, ‘don’t / ‘deal in / ‘lies, CIambic trimeter with anapaestic in the first _ _ / ᴗ _ / ᴗ _ / ᴗ _ / ᴗ _Or ‘being / ‘hated, / don’t ‘give / ‘way to / ‘hating,

BTrochaic tetrameter with pyrrhic in first._ _ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗAnd ‘yet / don’t ‘look / too ‘good, / nor ‘talk / too ‘wise:

CIambic tetrameter with pyrrhic in the first

_ ᴗ / _ ᴗ / - ᴗ / _ ᴗ / _ ᴗ / _ ᴗ _If ‘you / can ‘dream /—and ‘not / make ‘dreams / your ‘master;

D 

Iambic pentameter with incomplete foot_ ᴗ / _ ᴗ / - ᴗ / _ ᴗ / _ ᴗ / _ ᴗ If ‘you / can ‘think /—and ‘not / make ‘thoughts / your ‘aim; E   Iambic hexameter

_ ᴗ / _ ᴗ / - ᴗ / _ _ ᴗ / _ If ‘you / can ‘meet / with ‘Triumph / and ‘Disas / ‘ter DIambic trimeter with anapaestic in the middle_ ᴗ / _ ᴗ / - ᴗ / _ ᴗ / _ ᴗ And ‘treat / those ‘two / im’pos / tors ‘just / the ‘same;

E  Iambic pentameter_ ᴗ / _ ᴗ / - ᴗ / _ ᴗ / _ ᴗ / _ If ‘you / can ‘bear / to ‘hear / the ‘truth / you’ve ‘spok / en

FIambic pentameter with incomplete foot_ ᴗ / _ ᴗ / - ᴗ / _ ᴗ / _ ᴗ ‘Twisted / by ‘knaves / to ‘make / a ‘trap / for ‘fools, GIambic pentameter_ ᴗ / _ ᴗ / - ᴗ / _ ᴗ / _ ᴗ / _ Or ‘watch / the ‘things / you ‘gave / your ‘life / to, ‘broken,

FIambic pentameter with incomplete foot_ ᴗ / _ ᴗ / - ᴗ / _ ᴗ / _ ᴗ And ‘stoop / and ‘build / ’em‘up / with ‘worn/ -out ‘tools:

GIambic pentameter

_ ᴗ / _ ᴗ / - ᴗ / _ ᴗ / _ ᴗ / _ If ‘you / can ‘make / one ‘heap / of ‘all / your ‘win / nings

HIambic pentameter with incomplete foot_ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ And ‘risk / it ‘on / one ‘turn / of ‘pitch / -and-‘toss,

I

Iambic pentameter_ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ And ‘lose, / and ‘start / a’gain / at ‘your / ‘begin / nings

HIambic pentameter with incomplete foot_ ᴗ / _ ᴗ / - ᴗ / _ ᴗ / _ ᴗ And ‘ne / ver‘breathe / a ‘word / a’bout/ your ‘loss; IIambic pentameter_ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ If ‘you / can ‘force / your ‘heart / and ‘nerve / and ‘sin / ew

JIambic pentameter with incomplete foot

_ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗTo ‘serve / your ‘turn / long ‘af/ ter‘they / are ‘gone,    KIambic pentameter_ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ And ‘so / hold ‘on / when ‘there / is ‘not / hing‘in / you JIambic pentameter with incomplete foot_ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗEx’cept/ the ‘Will / which ‘says / to ‘them: / ‘Hold ‘on!’ KIambic pentameter

_ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _If ‘you / can ‘talk / with ‘crowds / and ‘keep / your ‘vir / tue, 

L 

Iambic pentameter with incomplete foot at the end 

_ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗOr ‘nei / ther‘walk / with ‘Kings/— nor‘lose / the ‘com / mon‘touch, M

Iambic hexameter

_ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ

If ‘nei / ther‘foes / nor ‘lov / ing‘friends / can ‘hurt / you,L

Iambic hexameter

_ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ If ‘all / men ‘count / with ‘you, / but ‘none / too ‘much;

M

Iambic pentameter

_ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ If ‘you / can ‘fill / the ‘un / for’giv / ing‘min / ute

N

Iambic pentameter with incomplete foot at the end 

_ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ With ‘six / ty‘se / conds’ ‘worth / of d’is / tance‘run,   

O

Iambic pentameter

_ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ‘Yours is / the ‘Earth / and e’ve / ry‘thing/ ‘that’s in / it,   

NIambic pentameter with incomplete foot at the end _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ / _ ᴗ And—‘which / is ‘more /—you’ll ‘be / a ‘Man, / my ‘son!

O

Iambic pentameter

2.2 RHYME& RHYTHM

RhythmAs general the poem use Iambic pentameter with incomplete foot

Rhyme

Perfect Rhyme, It occurs when the sounds are identicalo You, too in the first stanza, o master and disaster in second stanza.

Half Rhymeo Lies - wise in the first stanzao Aim – same in the second stanzao Sinew – you in the third stanzao Virtue – you in the forth stanza

Internal rhymeo Are ‘losing‘theirs and‘blaming‘iton ‘you

2.3 FIGURATIVE LANGUAGE

1. Personification Dreams : masters who can control our lives.

In this case, dreams assume a human role/quality, that

of being a master. Triumph and disaster : imposters who can lead us

astray. Success is personified as “Triumph” and can make us complacent. Failure is personified as “Disaster”. It can influence us to believe that failure is permanent.

Will : personified as a person who encourages us not to

give up.

2. Metaphor

Unforgiving minutes : refer to time that waits for no

man, it is like a race where every second is important.

Worn out tools : refer to the feeling of total

exhaustion that can force someone to give up.

Make one heap of all your winnings : compared to a pile of money

won at the gambling table.

Walk with Kings : means to socialize with

important people. Talk with crowds : refers to mixing

with all kinds of people.

3. Apostrophe My Son! : The writer speak

as if he speak to a person.

4. Hyperbole Yours is the Earth and everything that’s in it : Not

everything in the earth are belong to someone. In other word, you

can’t have all the things that exist on the earth, there are several things that you can’t.

5. Symbol (A symbol represents an idea) Knaves : represent scoundrels, liars or

conmen Crowds : symbolize the common

folk/people Kings : represent the important people in

society Common touch : represents humility

2.4 BIOGRAPHICAL / HISTORICAL BACKGROUND

For the unlikely truth is that they were composed by the Indian-born

Kipling to celebrate the achievements of a man betrayed and imprisoned by the

British Government - the Scots-born colonial adventurer Dr Leander Starr

Jameson.

Although it may not seem so to the millions who can recite its famous first

line ('If you can keep your head when all about you'), If is also a bitter

condemnation of the British Government led by Lord Salisbury, and the duplicity

of its Colonial Secretary Joseph Chamberlain, for covertly supporting Dr

Jameson's raid against the Boers in South Africa's Transvaal in 1896, only to

condemn him when the raid failed.

Kipling was a friend of Jameson and was introduced to him, so scholars

believe, by another colonial friend and adventurer: Cecil Rhodes, the financier and

statesman who extracted a vast fortune from Britain's burgeoning African empire

by taking substantial stakes in both diamond and gold mines in southern Africa.

In Kipling's autobiography, Something Of Myself, published in 1937, the year after his death at the age of 70, he acknowledges the inspiration for If in a single reference: 'Among the verses in Rewards was one set called If - they were drawn from Jameson's character, and contained counsels of perfection most easy to give.' Dr. LeanderStar Jameson who led an unsuccessful raid against the Boer in South Africa the same year the poem was written. Despite the disaster, the British press viewed it as a victory and Jameson as a hero.

--

POETRY

“IF”

BY RUYARD KLIPING

Aisyah NabilaDanang Sudibyo

Layla RizqiyaSulfia Puspita

Zakkiya KholidaAhmad Ardiansyah

HANDOUT 4

AN ANALYSIS OF POEM To Daffodills BY ROBERT HERRICK

Compiled by

Group 3

Rahayu Eka Putri 105110104111010Fitria Syafalia 105110101111063Kurun Umrotun Nisa 105110101111091Reni F Khairina 115110100111018Desy Sinta N 115110107111007Wahyu Alfita 115110107111036

STUDY PROGRAM OF ENGLISH

DEPARTMENT OF LANGUAGES AND LITERATURE

FACULTY OF CULTURE STUDIES

UNIVERSITAS BRAWIJAYA

2013

Summary of poem

This poet makes the comparison of the life of the Daffodil with the short life. If you look at the time of human life, we are only here for such a short visit. Looking at this poet make us compares the daffodils short visit in the spring with our life in all seasons, and while it is short, it is long enough for us to fulfill so much and no matter how old you are, it is never too late to what you want to do.

Stanzaic Form

This poem contain of 2 stanza, every stanza consist of ten lines.

Rhyme analysis

Perfect rhyme (soon-noon) (stay-day) (evensong-along) (spring-anything) (decay-day) (rain-again)

Alliteration (As your hours do, and dry)

Half rhyme (decay-die)

Matrical Pattern and Rhyme Analysis

Stanza 1

‘Fair ‘daffo’dils, we ‘weep to ‘seea

/ - - / ͜ -/ ͜ - / ͜ - / IAMBIC TETRAMETER WITH SPRUNG RYTHM A SPONDEE IN THE FIRST FOOT

You ‘haste a’way so ‘soon;b

/ ͜ - / ͜ - / ͜ - /

IAMBIC TRIMETER

‘As yet the ‘early-‘rising ‘sunb

/ - ͜ / ͜ -/ ͜ - / ͜ - / IAMBIC TETRAMETER WITH SPRUNG RYTHM A TROCHEE IN THE FIRST FOOT

‘Has not ‘attain’d ‘his noon.b

/- ͜ / - ͜ / - ͜ / IAMBIC TRIMETER

Stay, stayc

/ - - / SPONDAIC MONOMETER

‘Until the ‘hasting ‘dayc

/- ͜ / ͜ - / ͜ - / IAMBIC TRIMETER WITH SPRUNG RYTHM A TROCHEE IN THE FIRST FOOT

‘Has runb

/ - ͜ / IAMBIC MONOMETER

But to the ‘even’song;d

/ ͜ ͜ / ͜ -/ ͜ - / IAMBIC TRIMETER WITH SPRUNG RYTHM A PYRRHIC IN THE FIRST FOOT

And, ‘having ‘pray’d to’gether, wee

/ ͜ // - ͜ / - ͜ /- ͜ // ͜ / IAMBIC TETRAMETER

‘Will go ‘with you a’long.d

/ - ͜ /- ͜ / ͜ - / TROCHAIC TRIMETER WITH SPRUNG RYHTM A IAMB IN THE THIRD FOOT

Stanza 2

We ‘have short ‘time to ‘stay, ‘as you,a

/ ͜ - / ͜ - / ͜ - / - ͜ / IAMBIC TETRAMETER WITH SPRUNG RYHTM A TROCHEE IN THE THIRD FOOT

We ‘have ‘as short a ‘spring;b

/ ͜ - / - ͜ / ͜ - / IAMBIC TRIMETER WITH SPRUNG RYHTM A TROCHEE IN THE SECOND FOOT

‘As ‘quick a ‘growth to ‘meet de’cay,c

/ - - / ͜ - / ͜ - / ͜ - / IAMBIC TETRAMETER WITH SPRUNG RYTHM A SPONDEE IN THE FIRST FOOT

‘As you, or anything.b

/ - ͜ // ͜ ͜ - / TROCHAIC DIMETER AND ANAPESTIC DIMETER

We ‘diec

/ ͜ - / IAMBIC MONOMETER

‘As your ‘hours do, and ‘dryc

/ - ͜ / - ͜ // ͜ - / TROCHAIC TRIMETER WITH SPRUNG RHYTHM A IAMB IN THE THIRD FOOT

A’wayc

/ ͜ - / IAMBIC MONOMETER

‘Like to the ‘summer’s ‘rain;d

/ - ͜ / ͜ - / ͜ - /

IAMBIC TRIMETER WITH SPRUNG RHYTM A TROCHEE IN THE FIRST FOOT

Or ‘as the ‘pearls of ‘morning’s ‘dew,e

/ ͜ -/ ͜ - / ͜ - / ͜ - / IAMBIC TETRAMETER

‘Never to be ‘found a’gain.d

/- ͜ ͜ / ͜ - / ͜ - / IAMBIC TRIMETER WITH SPRUNG RYTHM A DACTYL IN THE FIRST FOOT

Figurative Language

1.But to the evensong;And, having pray’d together, weWill go with you along.Personification because the speaker tries to tell the reader that the daffodils have a power to make us imagening that the daffodils themselves can pray and do activities like human being.

2. We have short time to stay, as you, : Simile, the speaker wants to compare a short time with daffodils because as we know daffodils have a short time to live as us.

3. We have as short a spring;As quick a growth to meet decay,As you, or anything.We dieHyperbole because the speakers is used exaggerate words to dramatize his or her feelings.

4. Like to the summer’s rain;Or as the pearls of morning’s dew,Simile because the speakers wants to compare the beauty of the daffodils with the summer’s rain, because rain in the summer day is very fresh, and the speakers wants to compare it with morning’s dew as well.

Overall this poem is dominated by apastrophe because the speaker tries to talk to the daffodils. And it seems like he adores to the daffodils. It makes the message and the content more easily to be accepted.

Historical information

Robert Herrick was live in Elizabethan era which famous with carpe diem. Carpe diem show about life is short so the poet wants to tell the readers about how short life is and how beautiful it is if we enjoy and try to see the beauty.

Biographical Information

Herrick wrote over 2,500 poems, about half of which appear in his major work, Hesperides. He is well known for his style and, in his earlier works, for frequent references to lovemaking and the female body. His later poetry was more of a spiritual and philosophical nature. Among his most famous short poetical sayings are the unique monometers, such as "Thus I / Pass by / And die,/ As one / Unknown / And gone."

The message

This poem advising the youth to enjoy and use the time wisely. Don’t let the condition like the daffodils who smile brightly when they bloom, but it’s only take a short time, the beauty will fade away quickly. Just like the short duration of the flowers, men too, die away soon. Life is short, make it better. Life once. Just enjoy our life.

--

Refferences

http://wiki.answers.com/Q/What_is_the_summary_of_to_daffodils_by_Robert_Herrick

http://www.poemhunter.com/poem/to-daffodils/

http://jacobeanlit4-5.wikispaces.com/5.+To+Daffodils+-+Herrick

HANDOUT 5

POETRY ANALYSIS

STOPPING BY WOODS ON A SNOWY EVENING

BY ROBERT FROST

Created by Group Six of E Class:

Brian Pradana Putra Murer (115110101111015)

Adidharma Pramudito (115110101111022)

Rella Coverries S (115110100111029)

Ni Nyoman Ayu Shri Smertini Adhi (115110101111030)

Febrian Dwi Indarwanto (115110101111064)

Tenri Wega Herawati (115110101111084)

Study Program of English

Department of Languages and Literature

Faculty of Culture Studies

University of Brawijaya

Malang

2013

Stopping by Woods on a Snowy Evening By Robert Frost

Whose ‘woods these ‘are I ‘think I ‘know. A iambic tetrameter

/ ͜ -/ / ͜ -// ͜ -/ / ͜ -/His ‘house is ‘in the ‘village, ‘though; A iambic tetrameter

/ ͜ -/ / ͜ -// ͜ -// ͜ -/ He ‘will not ‘see me ‘stopping ‘here B iambic tetrameter

/ ͜ -/ / ͜ -// ͜ -// ͜ -/To ‘watch his ‘woods fill ‘up with ‘snow. A iambic tetrameter

/ ͜ -/ / ͜ -/ / ͜ -// ͜ -/

My ‘little ‘horse must ‘think it ‘queer B iambic tetrameter

/ ͜ -// ͜ -/ / ͜ -/ / ͜ -/To ‘stop with’out a ‘farmhouse ‘near B iambic tetrameter

/ ͜ -/ / ͜ -/ / ͜ -/ / ͜ -/Bet’ween the ‘woods and ‘frozen ‘lake C iambic tetrameter

/ ͜ -/ / ͜ -/ / ͜ -/ / ͜ -/The ‘darkest evening ‘of the ‘year. B iambic tetrameter

/ ͜ -// ͜ -/ / ͜ -/ / ͜ -/

He ‘gives his ‘harness ‘bells a ‘shake C iambic tetrameter

/ ͜ -/ / ͜ -/ / ͜ -/ / ͜ -/To ‘ask if ‘there is ‘some ‘mistake. C iambic tetrameter

/ ͜ -// ͜ -/ / ͜ -/ / ͜ -/The ‘only ‘other ‘sound's the ‘sweep D iambic tetrameter

/ ͜ -/ / ͜ -/ / ͜ -/ / ͜ -/Of ‘easy ‘wind and ‘downy ‘flake. C iambic tetrameter

/ ͜ -// ͜ -/ / ͜ -// ͜ -/

The ‘woods are ‘lovely, ‘dark, and ‘deep, D iambic tetrameter

/ ͜ -/ / ͜ -// ͜ -/ / ͜ -/But ‘I have ‘promi’ses to ‘keep, D iambic tetrameter

/ ͜ -// ͜ -// ͜ -/ / ͜ -/And ‘miles to ‘go bef’ore I ‘sleep, D iambic tetrameter

/ ͜ -/ / ͜ -/ / ͜ -/ / ͜ -/And ‘miles to ‘go bef’ore I ‘sleep. D iambic tetrameter

/ ͜ -/ / ͜ -/ / ͜ -/ / ͜ -/

1. Poetry Summary

In this poetry, the speaker wants to show us about his experience during his jurney with the aim is to keep the speaker promises to someone who lives in the place where his destination belongs to. But in the middle of the way he is distracted with the beauty of the nature “woods” but still he remind himself to continue his jurney so he will be able to keep his promises before he die.

2. Stanzaic Form

This poetry - “Stopping by Woods on a Snowy Evening” – consict of four stanzas. Each stanza contains of four line and it callled Quatrains.

3. Rhymes

This poem writtern in iambic tetrameter. All of the line consist by four feet. The rhyme scheme of the poem is aaba, bbcb, ccdc, dddd. This poetry has a perfect rhyme.

4. Figurative Language

Imagery:

Whose woods these are I think I know.

His house is in the village though;

He will not see me stopping here

To watch his woods fill up with snow. Sight Imagery

 

My little horse must think it queer

To stop without a farmhouse near

Between the woods and frozen lake

The darkest evening of the year.

 

He gives his harness bells a shake

To ask if there is some mistake

The only other sound’s the sweep

Of easy wind and downy flake.

The woods are lovely, dark, and deep.

But I promises to keep,

And miles to go before I sleep,

And miles to go before I sleep.

5. Theme

The main theme of this poetry is to keep promises and the second theme is admires the beauty of nature.

6. Message

The message of this poetry is to tell us to keep our promises to someone eventhough there are obstacles.

7. Historical Background

This poetry tells about someone’s journey in the middle of the woods after hesitating for some times then he continue his journey because he has promise to keep. It’s the same as

Personifikasi

Imagery Auditory

Sight Imagery

Sight Imagery

Hyperbole

Robert Forst’s journey to his home from the market. He wanted to buy Christmas presents for his children but he did not have enough money. His stop in the sidewalk because of his hesitation, but after his horse shake his body and make the bell on the harness ring, it seems that the horse tried to cheer him up. Then, he continued his journey to go home because he already had a promise to his children (Vincent, 2009)

--

8. References

SparkNotes Editors. (2002). SparkNote on Frost’s Early Poems. Retrieved May 20, 2013, from http://www.sparknotes.com/poetry/frost/

River State College. (2011). Writing handout L3: Understanding poetry. Retrived on May 28, 2013, from http://www.irsc.edu/uploadedFiles/ Student/Academic Support Center/WritingLab/L3-Understanding-Poetry-ASC.pdf

Vincent, Caitlin. Jordan Reid Berkow ed. “Robert Forst: Poems Study Guide: Summary and Analysis of “Stopping by Woods on Snowy Evening” (1923)”. GradeSaver, 12 May 2009 Web. 22 May 2013.

HANDOUT 6

The Analysis of “The Negro’s Tragedy”

A Poem by Claude McKay

Group 04

Nadiya Farisya Ramdhani (0911110068)

Nindia Rizana (0911110070)

Chusnul Chotimah (105110101111093)

Dinar Utami A. (115110100111033)

Isna Nur L. (115110100111043)

Sheilga Firdausa D. (115110100111044)

English Literature

Faculty of Culture Studies

University of Brawijaya

2013

I. INTRODUCTION

Negro’s Tragedy by Claude McKay

It is the Negro’s tragedy I feelWhich binds me like a heavy iron chain,It is the Negro’s wounds I want to healBecause I know the keenness of his pain.Only a thorn-crowned Negro and no whiteCan penetrate into the Negro’s kenOr feel the thickness of the shroud of nightWhich hides and buries him from other men.

So what I write is shot out of my blood.There is no white man who could write my bookThough many think the story can be toldOf what the Negro people ought to brook.Our statesmen roam the world to set things right.This Negro laughs, and prays to God for Light!

1. Summary of the poem

This poem tells about black people who always reputed as a lower rank in America. The white man was at the centre of the cultural-circle, and the blackman was pushed to stand around them. In this poem, the speaker tries to support others negro to survive their life in that situation. The situation is very hard to facing but they always pray and fight for their freedom.

2. Theme

The major theme of the poem is “the black’s efforts to survive in a racist society”. It shows to the readers how black people suffer in situation when they were discriminated by society and their effort to fight and always pray for freedom.

II. DISCUSSION

1. Stanzaic Pattern, Rhyme, Rtyhm

In scanning a poem, knowing the rhythm, the rhyme, and the alliteration are very important. Those elements give a pattern to the poem. When the readers understand them, the readers will be able to read the poem well. The first stanza is octave and second stanza is sestet. The general rhyme pattern is a b a b, written in iambic pentameter and iambic pentameter with pyrrhic in the end of the line (line 2, line 4, line 6, & line 8).

1st Stanza: Octave (a stanza of eight lines)

/ ͜ - / ͜ -/ ͜ -/ ͜ -/ ͜ -/

It isthe Negro’s tragedyI feelperfect(a)Iambic Pentameter

/ ͜ - / ͜ - / ͜ - / ͜ - / ͜ ͜ /

Which binds me like a heavy ironchain, perfect(b)Iambic Pentameter with Pyrrhic in the end

of the line

/ ͜ - / ͜ - / ͜ - / ͜ - / ͜ - /

It is the Negro’s wounds I want to healperfect(a)Iambic Pentameter

/ ͜ - / ͜ - / ͜ - / ͜ -/ ͜ ͜ /

Because I know the keenness of his pain.perfect(b)Iambic Pentameterwith Pyrrhic in the end

of the line

/ ͜ -/ ͜ - / ͜ -/ ͜ - / ͜ - /

Only a thorn-crowned Negro and no whiteperfect(c)Iambic Pentameter

/ ͜ -/ ͜ - / ͜ - / ͜ -/ ͜ ͜ /

Can penetrate into the Negro’s kenperfect(d)Iambic Pentameterwith Pyrrhic in the end of the

line

/ ͜ - / ͜ - / ͜ -/ ͜ - / ͜ - /

Or feel the thickness of the shroud of nightperfect(c)Iambic Pentameter

/ ͜ -/ ͜ -/ ͜ -/ ͜ -/ ͜ ͜ /

Which hides and buries him from other men.perfect(d)Iambic Pentameterwith Pyrrhic in the

end of the line

2nd Stanza: Sestet (a stanza of six lines)

/ ͜ - / ͜ - / ͜ - / ͜ - / ͜ - /

So what I write is shot out of my blood.half(e)Iambic Pentameter

/ ͜ - / ͜ - / ͜ - / ͜ - / ͜ - /

There is no white man who could write my bookperfect(f)Iambic Pentameter

/ ͜ - / ͜ - / ͜ - / ͜ - / ͜ - /

Though many think the story can be toldhalf(g)Iambic Pentameter

/ ͜ - / ͜ - / ͜ - / ͜ - / ͜ - /

Of what the Negro people ought to brookperfect(f)Iambic Pentameter

/ ͜ - / ͜ - / ͜ - / ͜ - / ͜ - /

Our statesmen roam the world to set this rightperfect(c)Iambic Pentameter

/ ͜ - / ͜ - / ͜ - / ͜ - / ͜ - /

This Negro laugh, and praise to God to Light!perfect(c)Iambic Pentameter

Notes:

In the poem above, the underlined letters are the Alliteration. The stressed syllable is symbolized with – The unstressed syllable is symbolized with ͜

2. Figurative Language Simile → It is the Negro’s tragedy I feel

Which binds me like a heavy iron chain It is compared two things assert similarity. The things are the author’s feeling about the

tragedy and the heavy iron chain that we know as an heavy thing to carry.

Hyperbole → It is the Negro’s wounds I want to healBecause I know the keenness of his pain.

It is hyperbole because the writer want to emphasis his statement by the sentences “because I know the keenes of his pain” he wants to tell us the condition which full of sufferings at that time and he want to help theirs to” get up” from their sadness.

Imagery (visual image) & Metaphor→ Only a thorn-crowned Negro and no white Can penetrate into the negro`s ken

It is imagery (visual image) because the writer want to captured the tragedy of the negro`sickness at that time.

It is metaphor because in this poem,white does not mean the things which has white skin such as the whole Europe or American people as the negro’s enemy.

Imagery (visual image) & Personification→ Or feel the thickness of the shroud of nightWhich hides and buries him from other men.

It is imagery (visual image) because usually the sadness and sickness captured by the situation of night.

It is personification because itcompares the situation of night with the activity of human beings which can hide and buries someone else from the others.

Metaphor→There is no white man who could write my book (line 10) The term white man metaphors from white peopleor Europe people.

Apostrophe & Metaphor→This negro laughs, and prays to God for lights(line 14)

It is apostrophe because the writer wants to asked people to prays to God to get better life in the future.

It is metaphor because the “light” is metaphor from the right way to get better life to negro’s people.

3. Biographical Approach

a. Festus Claudius McKay (Claude McKay) born in Sunny Ville, Jamaica, in 1889. He

was the youngest child of Thomas Francis McKay and Hannah Ann Elizabeth Edwards.

b. He started writing poetry at the age of 10.

c. He works as a constable in Jamaican Capital, Kingston, but he experienced and

encountered extensive racism and he returned home to Sunny Ville to continued writing

poetry.

4. Historical Approach

“James Weldon Johnson once said that Harlem is indeed the great for the sight-seer; the pleasure seeker, the curious, the adventurous, the enterprising, the ambitious and the talented of the whole Negro world. When one thinks of the Harlem Renaissance, one thinks of the great explosion of creativity bursting from the talented minds of African-Americans in the 1920s.” Jeffrey B. Ferguson, one of negro’s artist also said:

“We younger Negro artists who create now intend to express our individual dark-skinned selves without fear or shame. If white people are pleased we are glad. If they are not, it doesn't matter. We know we are beautiful. And ugly too. The tom-tom cries and the tom-tom laughs. If colored people are pleased we are glad. If they are not, their displeasure doesn't matter either. We build our temples for tomorrow, strong as we know how, and we stand on top of the mountain, free within ourselves.” (Gadget, n.d)

In “The Negro’s Tragedy”, Claude McKay tries to express and represent the feeling

of African – American. The lines of the poem:

It is the Negro’s tragedy I feel

Which binds me like a heavy iron chain,

It is the Negro’s wounds I want to heal

Because I know the keenness oh his pain

shows that Negro’s tragedy is experienced by the writer, it is a suffer, the situation gives

difficulty and very hard to facing so the writer want to stop it. The other line:

Only a thorn-crowned Negro and no white

Can penetrate into Negro’s ken

Or feel the thickness of shroud of night

Which hides and buries him from other men

So what I write is shot out of my blood.

There is no white man who could write my book

shows that no one especially white people cannot understand the feeling because they

do not experience it (underestimate). In the end of the poem:

Though many think the story can be told

Of what the Negro people ought to brook.

Our statement roam the world to set the things right.

This Negro laughs, and prays to God for Light!

Shows that the situation is too difficult to explain. Negro people fight for the right and

struggle from their difficulty. They always survive and pray to God to get their freedom.

It give a sign that this poem is write in Harlem Renaissance which consider as most

important literary, artistic and social movement of African – American movement to

fighting for freedom.

III. CONCLUSION

The Negro’s Tragedy by Claude McKay is a poem that written in Harlem Renaissance era. It tells about how negro struggle in situation when they were discrimination by white people. The general rhyme pattern is a b a b, written in iambic pentameter and iambic pentameter with pyrrhic in the end of the line. The stanzaic form is octave and sestet. The moral value of this poem is people should fight for their freedom.

IV. REFERENCES

Gadget, Mr. (n.d).The Harlem Renaissance. Retrieve on May 20, 2013 from

http://hubpages.com/topics/education-and-science/3398.

Giles, F.S. Modern American Poetry: Claude McKay’s Life. Retrieved on May 20, 2013 from

http://www.english.illinois.edu/maps/poets/m_r/mckay/life.htm.

HANDOUT 7

The Analysis of

“Success is Counted Sweetest”

A Poem by Emily Dickinson

The member of group:

Sulistyaningrum (115110100111017)

Rae ShellaTivaniMareta (115110100111030)

DhianZhafarina (115110100111008)

Risa

HikmahNovianti (115110100111108)

Widya(115110101111029)

Study Program of English

Department of Language and Literature

Faculty of Culture Studies

University of Brawijaya

2013

Success is Counted SweetestBy Emily Dickinson

Success is counted sweetestBy those who ne'er succeed.To comprehend a nectarRequires sorest need.

Not one of all the purple HostWho took the Flag todayCan tell the definitionSo clear of Victory

As he defeated--dying--On whose forbidden earThe distant strains of triumphBurst agonized and clear!

I. INTRODUCTION

a. Background Info and Summary of the Poem

Success is beautiful, furthermore if it is gotten by the people who have fallen many times, and who have gotten many pains. Their pains can help them to be stronger. They have experience and strength because of their failure, and those make them get success or victory.There are no amazing and great people who can get the success itself today. There are no amazing and great people who can explain what actually success is. When someone has overcome the challenge which hampers him, and he can crosses the hampers, he will get the real success. And all of his pains will be recovered by the success itself.

The poem "Success is Counted Sweetest" is composed of only three stanzas of four lines each. Success is Counted Sweetest written by Emily Dickinson basically is about success is considered most desirable by those who have never been successful.

The poet proposes in the First Stanza, Lines 1 - 4, that success is the ultimate triumph and is sweetest to those who desperately desire it but have never obtain it. Success is sweetest to them than to the people who already have power and success. Some people work so hard and struggle to reach a goal, but somehow the fortunate ones who already have success, on the other hand, do not seem to appreciate it as much. To them success is like an everyday common occurrence.

Emily Dickinson turns to metaphors to illustrate this idea further. First she uses nectar in Line 3. In her century, nectar refers to the drink of Gods. So, to appreciate the good taste of sweet nectar, one must need to be hungry for it or unfamiliar with it. (See Line 3 and 4):

"To comprehend a nectar

Requires sorest need"

In Stanzas 2 and 3, Dickinson utilizes two scenes referring to war, most likely the Civil War. She proposes that the soldiers, who returned home held flags in celebration of their victory and bravery. However, these soldiers could not bravery or even a greater victory than those were fatally wounded in the combat zone. In the second scene, she illustrates with the power of her pen a dying soldier who could see clearly that victory was approaching, but sadly, also knew he would not triumph because death was calling him home too soon (Stanza 3):

"As he defeated - dying –

On whose forbidden ear

The distant strains of triumph

Burst agonized and clear."

b. The Poem’s Major Theme

The person who has the best meaning of success is the person who fails.

II. DISCUSSION

a. (1 )Stanzaic Pattern

The stanzaic form of “Success Counted Sweetest” by Emily Dickinson is quatrain. Each stanza is contained of four lines.

b. (1) Rhyme and Rhythm

The general rhyme pattern of this poem is a-b-c-b.

Success is Counted SweetestBy Emily Dickinson

Success is counted sweetest aBy those who ne'er succeed. bTo comprehend a nectar cRequires sorest need. b

Not one of all the purple Host dWho took the Flag today eCan tell the definition fSo clear of Victory g

As he defeated--dying-- hOn whose forbidden ear iThe distant strains of triumph jBurst agonized and clear! i

/ ͜ - /͜ - / ͜ - / ͜ /Suc`cess is `counted `sweetest IAMBIC TETRAMETER WITH INCOMPLETE FOOT / ͜ - / ͜ - / ͜ - /By `those who `ne'er suc`ceed. IAMBIC TRIMETER/͜ - / ͜ - /͜ - /͜ /To `compre`hend a `nectar IAMBIC TETRAMETER WITH INCOMPLETE FOOT/͜ - /͜ - /͜ - /Re`quires `sorest `need. IAMBIC TRIMETER

/͜ - /͜ - / ͜ - / ͜ - /Not `one of `all the `purple `Host IAMBIC TETRAMETER/ ͜ - / ͜ - /͜ - /Who `took the `Flag to`day IAMBIC TRIMETER/ ͜ - / ͜ -/ ͜ -/ ͜ /Can `tell the `defi`nition IAMBIC TETRAMETER WITH INCOMPLETE FOOT/ ͜ - / ͜ - /͜ -/So `clear of `Victo`ry IAMBIC TRIMETER

/ ͜ - /͜ - / ͜ - / ͜ /As`he de`feated—`dying— IAMBIC TETRAMETER WITH INCOMPLETE FOOT/͜ - / ͜ - / ͜ -/On `whose for`bidden `ear IAMBIC TRIMETER/ ͜ - / ͜ - / ͜ - /The`distant `strains of `triumph IAMBIC TRIMETER/ ͜ -/ ͜ - / ͜ - /Burst `ago`nized and `clear! IAMBIC TRIMETER

c. (1)Figurative Language and Diction

Diction:

The diction in “Success is Counted Sweetest” by Emily Dickinson is remarkable and meaningful. The dictions like sorest, forbidden, distant, strains, burst, and agonized are proper to build the nuance of the poem. In the third line of the first stanza, she chooses the word ‘nectar’ to represent success. She uses the word ‘nectar’ to give an emphasis that success is sweet. In the first line of the second stanza, the word ‘purple’ represents royalty. In the second line of the second stanza, flag also represents success in the battle.

Figurative Language:

Metaphor: Stanza 1 line 1-2> "Success is counted sweetest, by those who ne'er succeed." Dickinson elaborates on how succeeding feel so luscious when you have been preceded by failure and disappointment.

Stanza 1 line 3-4> "To comprehend a nectar, requires sorest need." Here, it is no longer just about success, but about want and desire, too. “To comprehend a nectar,” that is, to truly understand all the wonderful aspects of nectar, and to be satisfied by it. While “requires sorest need” means that only the starving can truly appreciate food.

Stanza 2 line 1-2> “Not one of all the purple host, who took the flag to-day” it means that the arrogant people who achieve success though have won but do not have the true essence of victory.

Personification:Stanza 3 line 2> "On whose forbidden ear" here, Emily Dickinson personifies victory and success for the one defeated as it is nothing less than a forbidden ear which does not listen to his call for victory.

(2)How the Figurative Language Helps to Establish the Theme

These figurative languages are all important to help the reader determine what theme is being applied in this poem. The main theme of this poem is that only the person seeking the final goal many times can get and feel the truly essence of success. Emily Dickinson wrote that “those who ne’er succeed” place the highest value on success and they “count” it “sweetest”. To understand the value of a nectar, the speaker says, one must feel “sorest need.” She says that the members of the victorious army (“The purple Host / Who took the flag today”) are not able to define victory as well as the defeated, dying man who hears from a distance the music of the victors.

d. (1)Biographical Approach

From the explanation about the poem, it shows that Emilly had to struggle to reach her dreams. In writing poem she also had a mentor that she really loved, Thomas. If we analyze this poem from a biographical point of view, this can be Emily’s response to those around her who attained the highest stature and success (maybe due to the social position, and thus, indifferent to the real taste of success). When she was child, her life was not easy. She was also well known for her unusual life of self-imposed social seclusion. She was living in a life of simplicity and seclusion. However, she had dreams. She always though if she could make her dreams come true, she would be the happiest woman in the world. (biography,2003)

III. CONCLUSION

a. Summary of Analysis

The stanzaic form of “Success Counted Sweetest” by Emily Dickinson is quatrain. Each stanza is contained of four lines.The general rhyme for the poem is a-b-c-b. The general rhythm that mostly uses in this poem is iambic trimester.

The diction in “Success is Counted Sweetest” by Emily Dickinson is remarkable and meaningful. The dictions like sorest, forbidden, distant, strains, burst, and agonized are proper to build the nuance of the poem. In the third line of the first stanza, she chooses the word ‘nectar’ to represent success. She uses the word ‘nectar’ to give an emphasis that success is sweet. In the first line of the second stanza, the word ‘purple’ represents royalty. In the second line of the second stanza, flag also represents success in the battle.

Figurative language that is used in this poem are:

Metaphor: Stanza 1 line 1-2> "Success is counted sweetest, by those who ne'er succeed." Stanza 1 line 3-4> "To comprehend a nectar, requires sorest need, requires sorest need" Stanza 2 line 1-2> “Not one of all the purple host, who took the flag to-day”

Personification:Stanza 3 line 2> "On whose forbidden ear"

b. Moral value/message

The person who has the best meaning of success is the person who fails. It is obviously seen that the message of the poem is that people who do not succeed are those who truly understand success for what it is.

1V. REFFERENCES

Julia. (2011). Success is Counted Sweetest. Retrieved on May 26th, 2013 from http://nefedovajulia.blogspot.com/2011/04/success-is-counted-sweetest.html

Valdez, A. 2010. Metaphor. Retrieved 26 May 2013 from http://alexisvaldez.freewebspace.com/metaphor.html

Moreno, J. et al. 2010. Success is Counted Sweetest. Retrieved 26 May 2013 from http://english3period2emilydickinson.wikispaces.com/Success+is+Counted+Sweetest

Lipsmeyer, J.Janie. 2012.Poetry analysis: Success Is Counted Sweetest, by Emily Dickinson.Retrieved 26 May 2013 fromhttp://www.helium.com/items/2402158-poetry-analysis-success-is-counted-sweetest-by-emily-dickinson

HANDOUT 8Masterrima Siti Anisyah

Mutia Tania

Ahmad Musaddad

REMEMBER by CHRISTINA ROSSETIRemember me when I am gone away, a

Gone far away into the silent land; b

When you can no more hold me by the hand, b

Nor I half turn to go yet turning stay. a

Remember me when no more day by day a

You tell me of our future that you planned; b

Only remember me; you understand b

It will be late to counsel then or pray. a

Yet if you should forget me for a while c

And afterwards remember, do not grieve; d

For if the darkness and corruption leave d

A vestige of the thought that one I had, e

Better by far you should forget and smile c

Than that you should remember and be sad. e

Stanzaic Form “remember” is a sonnet with Italian form. It can be divided into 2 part.

1. An octave is a stanza of eight line.

2. A sestet is a stanza of six lines.

Sound Pattern-Rhyme There is a perfect rhyme, following the pattern ‘abba, abba, cddece’. ‘Abba’, ‘abba’ corresponds to the octave, ‘cddece’ correspond to the sestet. The pattern in the sestet is less regular than the octave. This is because the speaker seems to rethink her demand about remembering her and suddenly announces that he may forget her in the sestet. The thought pattern is less simple, so the rhyme scheme becomes more complex.

Diction The only unusual word is ‘vestige’, which means ‘trace’ or ‘hint’.

Rhyme Rememb‘er me ‘ when I ‘ am gone ‘ away ‘/ - ‘ / - - / - - / - ‘ / - ‘ / iambic pentameter with two pyrrhicsGone far ‘ away ‘ into th’e silent ‘ land ‘/ ‘ ‘ / - ‘ / - - / - ‘ / - ‘ / iambic penta with one spondoic and one pyrrhicWhen you ‘ can no ‘ more hold ‘ me by ’ the hand’/ - - / - ‘ / - ‘ / - - / - ‘ / pyyrhic penta with two iambics, one trochaicNor I ha ’ lf turn ‘ to go ‘ yet turn ’ ing stay. /- - / ‘ ‘ / - ‘ / ‘ ‘ / - ‘/ one pyyrhic, two spondaics, two iambics Remember ‘me when no more day by day /- ‘ / - - / - ‘ / ‘ ‘ / - ‘ / iambic penta with one pyrrhic and one spondaicYou tell ‘ me of ‘ our fu ‘ ture that ‘ you planned; ’/ - ‘ / - - / - ‘/ - ‘ / - ‘ / iambic penta with one pyrrhicsOnly ‘ rememb ’ er me ‘ you un’derstand ‘/’ -/ - ‘ / - - / - - / - ‘ / one troichaic, two iambics and two pyrrhics

It will ‘ be late ‘ to couns’el then ‘ or pray ‘/ - -/ - ‘ / - ‘ / - - / - ‘ / iambic penta with two pyrrhics

Yet if you ‘ should forge’ t me fo’r a wh’ile’/ ‘ - / - - / ‘ - / - - / - ‘ / two trochaics, two pyrrhics, one iambicAnd after ’ wards rememb ‘ er, do ‘ not grieve’/ - ‘ / - ‘ / - ‘ / - ‘ / - ‘ / iambic pentaFor if ‘ the dark’ness and ‘ corrup ‘ tion leave’ / - - / - ‘ / - - / - ‘ / - ‘ / iambic penta with two pyrrhicsA vesti ‘ ge of ‘ the thought ‘ that one ‘ I had’/ - -/ ‘ - / - ‘ / - ‘ / - - / iambic penta with two pyrrhic

Better ‘ by far ‘ you should ‘ forget ‘ and smile’/ ‘ - / - ‘ / - - / ‘ - / - ‘ / two trochaics, two iambics, one pyrrhic

Than that ‘ you should ‘ rememb ‘ er and ‘ be sad’/ - - / - - / - ‘ / - - / - ‘ / pyrrhic penta with two iambics

Figurative Language Metaphor :

Remember me when I am gone away, Gone far away into the silent land;

Imagery : When you can no more hold me by the hand, For if the darkness and corruption leave

Biographical and HistoricalChristina Georgina Rossetti was born in London in December 1830, into a family of poets and artists. She was the youngest of four children. Her father was an Italian poet. She was educated at home by her mother. Rossetti suffered a nervous breakdown at the age of 14. In later years this was followed by bouts of depression. She was close to her brother Dante Gabriel Rossetti, and was linked through him with an art movement that studied nature. She lived a secluded life. She died of cancer in December 1894. Rossetti was one of the most important women poets of the 19th Century. Much of her poetry is religious, though she wrote some passionate love-poetry. Rossetti refused two offers of marriage because of religious differences. In her late teens she became engaged to the painter James Collinson but this relationship eventually ended because of religious differences when Collinson became a Catholic. Rosetti wrote the poem ‘Remember’ when she was 18 or 19 and engaged to Collinson. Some readers of this poem think it is concerned with the nearness of death and the unimportance of earthly love. They say that lots of Rossetti’s poems show that being in love tended to remind her of death. Other readers think Rosetti wanted to end the relationship as her fiancé was crowding her out, trying to control her. Also there was a growing religious difference between them as Collinson was about to become a Catholic. In other words, it is a poem about a woman’s plan to regain her personal freedom.Biographical and Historical

---

HANDOUT 9

"To Daffodils“ by ROBERT HERRICK

Fair daffodils, we weep to see a / - ‘ / - ‘ / - ‘ / - ‘ / iambic tetrameterYou hast away so soon: b / - ‘ / - ‘ / - ‘ / iambic trimeterAs yet the early-rising sun c /- ‘ / - - ‘ /- - ‘ / anapestic trimeter with an iambic on the 1st foot

Has not attained his noon. b /- ‘ / - ‘ / - ‘ / iambic trimeter

Stay, stay, d /- -/ pyrrhic monometerUntil the hasting day d /- ‘ / - ‘ / - ‘/ iambic trimeterHas run e /- ‘/ iambic monometerBut to the evensong; f /- - ‘ / - - ‘/ anapest dimeterAnd, having prayed together, we g /- ‘ / - ‘ / - - ‘ / -/ iambic tetra meter with anapestic in the 3rd foot with unstressed in the 4th foot

Will go with you along. f - ‘ / - ‘/ - iambic trimeter

We have short time to stay, as you, h /- ‘ / - ‘ / - ‘ / - ‘/ iambic tetrameterWe have as short a spring; I /- ‘ / - ‘ / - ‘/ iambic trimeterAs quick a growth meet decay, j /- ‘ / - ‘ / - - ‘/ iambic trimeter with anapestic in

the 3rd foot

As you, or anything. I /- ‘ / - - ‘/ iambic dimeter with anapestic in the 2nd foot

We die, k /- ‘/ iambic monometerAs your hours do, and dry k /- ‘ / - ‘ / - ‘ / iambic trimeterAway, j /- ‘/ iambic monometerLike to the summer’s rain; m /‘ - / - ‘/ - ‘/ iambic trimeterOr as the pearls of morning’s dew n /- ‘ / - ‘/ - ‘ / - ‘/ iambic tetrameterNe’er to be found again. m /- ‘ / - ‘ / - ‘/ iambic trimester

SUMMARY

GROUP 5

DIAH WIDAYANTI

HOPIYANTO

PAMELA FATMASARI

The speaker talks about the beauty of daffodils, but we have short time to see the beauty of daffodils because Daffodils have short time to live.

THEMESomething that can’t be everlasting

STANZAIC FORM

The poem consist of 2 stanza, every stanza consist of ten lines.

Analysis of Figurative Language • Line 1 “Fair Daffodils, we weep to see”Fair Daffodils = Apostrophe Here, the poem’s speaker wants to address the Daffodils, yellow trumpet-shaped flower, as a nonhuman being as if it is a human being which alive/present and could reply, with the form of address “Fair Daffodils”

• Line 2 “You haste away so soon”You haste away so soon = PersonificationThe word “You” here was refers to the Daffodil, a yellow trumpet-shaped flower, as an object (not an human being/person), but in this line “You haste away so soon”, this line tells us with personified as if the daffodils can move quickly/hurriedly (show an action in move like a person)

• Line 3 “As yet the early-rising sun”As = SimileIn line 3, the poem’s speaker was comparing dissimilar things between the Daffodils with the sun which is rising early in the morning, with the word “as” to link the images. The two objects being compared are the Daffodils and the sun which early rising to show how shorts the time was.

• Line 4 “Has not attained his soon” His (= Sun) soon = PersonificationIn line 4, the poem’s speaker stated that His soon, the word “his” here refers to the early-rising sun’s period.

• Line 5 - 7“Stay, stay,Until the hasting day Has run”

→ Apostrophe & PersonificationFrom the point of view Apostrophe side, this line is a set of sentence like in this form “Stay, stay, until the hasting day has run”. And this sentence seems like a direct sentence in addressing a person. From the point of view Personification side, this line stated that “… hasting day has run”, from this phrase, it is clear that this phrase show as a personification, since we know that the day was non-human object, but it is stated with the verb “has run”, which is to show that the day was also human being which is can flowing like a human-being condition/life.

• Line9 – 10 “And having prayed together, we” and “Will go with you along”We & You = The Daffodils and the speaker’s poem = ApostropheThe word “We” here was to address the daffodils and the poem’s speaker.

• Line11 “We have short time to stay as you;”We = Apostrophe …. as you; = SimileThe word “we” was refers to the poem’s speaker and the readers also; who comparing with the Daffodils which are has short time in this life.

• Line12 - 13 “We have as short a spring;” and “As quick a growth to meet decay”We = Apostrophe …. as short a spring; = SimileAs quick ….= Simile The word “we” was refers to the poem’s speaker, the reader, and the Daffodils also; who comparing with a spring which is also has a short period in their lives, which capable in make damage something in short period.

• Line14 “As you, or anything”As ….= Simile

• Line 16 “As your hours do, and dry”As ….= SimileThe word “As your hours do, and dry” was show that the period/the time in our lives was so short ended; anything was easily ended in short period, so we must do something useful in our life.

• Line 17 “Like to the summer’s rain;”Like … = SimileThe word “Like…’ was clear that it is a Simile, since it is comparing two things which dissimilar, between, our short period in life and the rain period in summer season.

• Line 18 “Or as the pearls of morning’s dew”As…= SimileThe word “As…’ was clear that it is a Simile, since it is comparing two things which dissimilar, between, our short period in life and the pearls in the morning with some dew.

BOGRAPHICAL INFORMATIONThe poem is related with his life, herrick never Herrick never married, and none of his love-poems seem to connect directly with any one beloved woman. He loved the richness of sensuality and the variety of life, and this is shown vividly in such poems as Cherry-ripe, Delight in Disorder and Upon Julia’s Clothes, besides almost his poems describe that this life is short, the world is beautiful and we must do the best from it. It can be shown from the poems to daffodils, To the Virgins, to make much of Time.

HISTORICAL APPROACHThis poem is wrote in restorian era. It is called the Age of Dryden, because Dryden was the dominating and most representative literary figure of the Age.  Throughout the period, the lyric, ariel, historical, and epic poem was being developed.

MESSAGELife is short, and world is beautiful, love is splendid and we must use the short time we live to make the most of it.

REFFERENCES

http://www.poets.org/poet.php/prmPID/197#sthash.lX9nbbzu.dpufhttp://en.wikipedia.org/wiki/Restoration_literaturehttp://neoenglishsystem.blogspot.com/2010/12/restoration-period-1660-1700.htmlhttp://en.wikipedia.org/wiki/Robert_Herrick_(poet)

HANDOUT 10

POEM ANALYSIS

“TO DAFFODILS”

RISKI PERMATASARI 115110100111049

LULUK LUTFIYA HANUM 115110100111051

HIDAYATI FAIZATULLAILI 115110100111052

ENGLISH DEPARTMENT

FACULTY OF CULTURE STUDIES

UNIVERSITY OF BRAWIJAYA

2013

To Daffodils

By Robert Herrick

/- ‘ / - ‘ / - ‘ / - ‘ / iambic tetrameterFair ‘daffo’dils, we ‘weep to ‘see (A)/- ‘ / - ‘ / - ‘ / iambic trimeterYou ‘haste a‘way so ‘soon; (B)/- - / - ‘ / - ‘ / - ‘ / iambic tetrameter with a pyrrhic on the 1st footAs yet the ‘early-‘rising ‘sun (C)/- - / - ‘ / - ‘ / iambic trimeter with a pyrrhic on the 1st footHas not at‘tained his ‘noon. (B)/ ‘ ‘ / spondaic monometer‘Stay, ‘stay (D)/- - / - ‘ / - ‘ Until the ‘hasting ‘day (D)/- ‘ / iambic tetrameter with a pyrrhic on the 1st footHas ‘run (C)/- - / - ‘ / - ‘ / iambic trimeter with a pyrrhic on the 1st foot But to the ‘even‘song; (E)/- ‘ / - ‘ / - ‘ / - ‘ / iambic tetrameterAnd, ‘having ‘pray’d to‘gether, ‘we (A)/- ‘ / - ‘ /- ‘ / iambic trimeterWill ‘go with ‘you a‘long. (E)

/- ‘ / - ‘ / - ‘ / - ‘ / iambic tetrameterWe ‘have short ‘time to ‘stay, as ‘you, (F)/- ‘ / - ‘ /- ‘ / iambic trimeterWe ‘have as ‘short a ‘spring; (G)/- ‘ /- ‘ / - ‘ / - ‘ / iambic tetrameterAs ‘quick a ‘growth to ‘meet de‘cay, (H)/- ‘ / - ‘ / - - / iambic dimeter with a pyrrhic on the 3rd foot

As ‘you, or ‘anything. (G)/- ‘ / iambic monometerWe ‘die (I)/- - / - ‘ / - ‘ As your hours ‘do, and ‘dry (I)/- ‘ / iambic tetrameter with a pyrrhic on the 1st footA‘way (H)/- - / - ‘ / - ‘ / iambic trimeter with a pyrrhic on the 1st footLike to the ‘summer’s ‘rain; (J)/- - / - ‘ / - ‘ / - ‘ / iambic tetrameter with a pyrrhic on the 1st footOr as the ‘pearls of ‘morning’s ‘dew, (K)/- - / - ‘ / - ‘ / iambic trimeter with a pyrrhic on the 1st footNe’er to be ‘found a‘gain. (J)

POEM’S MEANING

In his poem ‘To Daffodils’, the poet Robert Herrick begins by ‘we’ that implied for all of

us as human. He said that we feel sad to see the beautiful daffodils being wasted away very

quickly. The duration of their gloom is so short that it seems even the rising sun still hasn’t

reached the noon-time. The poet then addresses the daffodils and asks them to stay until the

day ends with the evening prayer. After praying together he says that they will also accompany

the daffodils.

“We have short time to stay, as you,

We have as short a spring.”

Robert Herrick compares human life with the life of daffodils. Further he says that both

of them grow very fast to be destroyed later. Just like the short duration of the flowers, people

only have a short time in their life. Their life is as short as the rain of the summer season, which

comes for a very short time; and the dew-drops in the morning, which vanish away and never

return again.

RHYME

Alliteration

“fair daffodils, we weep to see” l. 1

“you haste away so soon” l. 2

“we have short time to stay, as you” l. 10

“we have a short spring” l. 11

STANZAIC FORM

“To Daffodils” is Spenserian stanza; it consists of nine lines in each stanza.

THEME

A constant theme of the songs written by Robert Herrick is the short-lived nature of life and the short passage of time. We find a note of melancholy/sadness in his poem which arises out of the realization that beauty is not going to stay forever.

MESSAGES

From the poem we can take some message that life is short as the life of daffodils. We must spend the time of our life with the joy and do such good and useful things.

FIGURATIVE LANGUAGE

“Fair Daffodils, we weep to see”Fair Daffodils Apostrophe the poet wants to talk to the Daffodils, as a nonhuman being as if it is a human being which alive and could reply.

“You haste away so soon” PersonificationThe word “You” here was refers to the Daffodil, this the poet considers the daffodils can move quickly/hurriedly (show an action in move like a person)

“As yet the early-rising sun”As Simile

the poet is comparing between the Daffodils with the sun which is rising early in the morning, with the word “as” to link the images. The two objects being compared are the Daffodils and the sun which early rising to show how shorts the time was.

“Has not attained his soon” His (Sun) soon PersonificationIn line 4, the poem’s speaker stated that His soon, the word “his” here refers to the early-rising sun’s period.

“Stay, stay,Until the hasting day Has run” Apostrophe & PersonificationApostrophe: this line seems like a sentence in addressing a person. Personification: this line stated that “… hasting day has run”, from this phrase, we know that the day was non-human object, but it is stated with the verb “has run” which is the human being activity.

“And having prayed together, we” and “Will go with you along”We & You (The Daffodils and the speaker’s poem) ApostropheThe word “We” here was to address the daffodils and the poem’s speaker.

“We have short time to stay as you;”We Apostrophe as you SimileApostrophe: The word “we” was refers to the poet and the readers also.Simile: we is compared with the Daffodils which are has short time in this life.

“We have as short a spring;” and “As quick a growth to meet decay”We Apostrophe as short a spring SimileAs quick Simile Apostrophe: The word “we” was refers to the poet, the reader, and the Daffodils also; Simile: we is compared with a spring which is also has a short period in their lives, which can make damagein short period.

“As you, or anything”As Simile

We is again compared with the daffodils.

“As your hours do, and dry”As Simileshow that the time in our lives was very short, so we must do something useful in our life.

“Like to the summer’s rain;”Like SimileIt is comparing between our short period in life and the rain period in summer season that is also has short period.

“Or as the pearls of morning’s dew”As Simileit is comparing between our short period in life and the pearls in the morning with some dew.

BIOGRAPHICAL APPROACH

Robert Herrick's personal fate is in one point like Shakespeare's. We know or seem to

know them both, through their works, with singular intimacy. But with this our knowledge

substantially ends. No private letter of Shakespeare, no record of his conversation, no account

of the circumstances in which his writings were published, remains: hardly any statement how

his greatest contemporaries ranked him. A group of Herrick's youthful letters on business has,

indeed, been preserved; of his life and studies, of his reputation during his own time, almost

nothing. For whatever facts affectionate diligence could now gather. So far as is known, he

published but this one volume, and that, when not far from his sixtieth year. Some pieces may

be traced in earlier collections; some few carry ascertainable dates; the rest lie over a period of

near forty years, during a great portion of which we have no distinct account where Herrick

lived, or what were his employments.

A selection From the lyrical poems of Robert Herrick. Retrieved 20 May 2013 from http://www.gutenberg.org/files/1211/1211.txt

Herrick never married, and none of his love-poems seem to connect directly with any

one beloved woman. He loved the richness of sensuality and the variety of life. The over-riding

message of Herrick’s work is that life is short, the world is beautiful, love is splendid, and we

must use the short time we have to make the most of it. This message can be seen clearly in To

the Virgins, to make much of Time; To Daffodils; To Blossoms; and Corinna going a-Maying,

where the warmth and exuberance of what seems to have been a kindly and jovial personality

comes over strongly.

Retrieved 20 May 2013 from http://en.wikipedia.org/wiki/Robert_Herrick_%28poet%29

Robert Herrick is generally considered the greatest of the Cavalier poets, and like most

of this group of poets his works show a large amount of wit and dryness. One such poem "To

Daffodils" which was in a collection of poems entitled "Hesperides," (tad bit presumptuous on

his part) is a perfect example of Herrick’s sophisticated and direct nature.

Robert Herrick was well known for his use of flowers as subjects and often

commented on their brevity of life or as an analogy to love. In one such poem, Why Flowers

Change Color, Herrick touches on the topic of love and virginity as a flower, but still keeps a

very close contact to his sharp dry nature that is found in “To Daffodils”.

Robert Herrick’s “to Daffodils”. Retrieved 20 May 2013 http://www.studymode.com/essays/Robert-Herrick-s-To-Daffodils-177105.html

HISTORICAL APPROACH

In 1647, in the wake of the English Civil War, Herrick was ejected from his vicarage for

refusing the Solemn League and Covenant. He then returned to London, living in Westminster

and depending on the charity of his friends and family. He spent some time preparing his lyric

poems for publication, and had them printed in 1648 under the title Hesperides; or the Works

both Human and Divine of Robert Herrick, with a dedication to the Prince of Wales.

When King Charles II was restored to the throne in 1660, Herrick petitioned for his own

restoration to his living. Perhaps King Charles felt kindly towards this genial man, who had

written verses celebrating the births of both Charles II and his brother James before the Civil

War. Herrick became the vicar of Dean Prior again in the summer of 1662 and lived there until

his death in October 1674, at the ripe age of 83. His date of death is not known, but he was

buried on 15 October. Herrick was a bachelor all his life, and many of the women he names in

his poems are thought to be fictional

Retrieved 20 May 2013 from http://en.wikipedia.org/wiki/Robert_Herrick_%28poet%29

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HANDOUT 11

THE NEGRO’S TRAGEDYBy CLAUDE MCKAY

GROUP 7

ITSNAAINI RUSIRJAYANTI 115110100111041M. AKHLIS FACHRURIZA 115110100111046ANGGA WAHYU GEMILANG 115110100111053

Fakultas Ilmu Budaya

Universitas BrawijayaNegro’s Tragedy

By Claude McKay

It is the Negro’s tragedy I feel a

|- ‘| - ‘ | - ‘| - ‘| - ‘| iambic pentameter

Which binds me like a heavy iron chain, b

| - ‘ ||- ‘ ||- ‘ | |- ‘||- ‘ | iambic pentameter

It is the Negro’s wounds I want to heal a

|-‘||- ‘| - ‘ ||- ‘ | |- ‘ | iambic pentameter

Because I know the keenness of his pain. b

|- - ‘|| - - ‘|| - ‘||- ‘ | two anapests and two iambs

Only a thorn-crowned Negro and no white c

|’ - -||’ - -| |’ - -| |’ -| three dactyl and one trochee

Can penetrate into the Negro’s ken d

| - | |’ - - ||’ - - | |’ - - | dactyl trimeter

Or feel the thickness of the shroud of night c

|- ‘ ||- ‘ ||- ‘ || - ‘ || - ‘ | iambic pentameter

Which hides and buries him from other men. d

| - ‘ || - ‘ || - ‘ || - ‘|| - ‘ | iambic pentameter

So what I write is shot out of my blood. e

|’ - ||’ - ||- ‘ ||- ‘||’ -| three trochees and two iambs on the

3rd and 4th foot

There is no white man who could write my book f

| - - ‘ || - - ‘ || - ‘ || - ‘ | two anapests and two iambs

Though many think the story can be told g

| - ‘||- ‘ ||- ‘||- ‘|| - ‘| iambic pentameter

Of what the Negro people ought to brook. f

|- ‘ ||- ‘|| - ‘||- ‘ ||- ‘ | iambic pentameter

Our statesmen roam the world to set things right. h

|- ‘ || - ‘ ||- ‘ ||- ‘ | | - ‘ | iambic pentameter

This Negro laughs, and prays to God for Light! h

| - ‘ || - ‘ || - ‘ || - ‘ || - ‘ | iambic pentameter

--

MESSAGE

This poems make us not to allowed discriminate certain group or races. Beside that , this

poems teach us to respect to different races in the world.

STANZAIC

There is only 2 stanzas consists of 14 lines. The first stanza uses Octave, because consist

eight lines and use Sestet in the second stanza because contain six lines.

RHYME

The rhyme that is used in this poem ababcdcd, efgfhh. This poems use perfect rhyme in

line 1 and line 3 in first stanza, like feel – heal and also chain – pain in line 2 and line 4

first stanza; in the second stanza in the last line like light - right

Assonance in the first stanza line 5 and line 7 like white – night and second stanza line 10

and line 12 also book - brook

FIGURATIFVE LANGUAGE

o Simile

“which binds me like a heavy iron chain” ….. line 2 stanza 1

This is compared two things, between the negro’s tragedy and iron chain.

o Personification

“which binds me like a heavy iron chain” ….. line 2 stanza 1

The Negro’s tragedy can act like human being ( binds )

“It is the Negro’s wounds I want to heal”…. Line 3 stanza 1

The Negro’s wound is like a life thing

‘’so what I write is shot out of my blood”…. Line 9 stanza 2

The blood is can’t be place for writing but in this poems blood is like that

o Hyperbole

“our statement roam the world to set things right …. Line 13 stanza 2

The words ‘roam the world’ to emphasize the dramatize effect so he uses

hyperbolic words

o Metaphor

“this Negro’s laughs and pray to God for light”…. Line 14 stanza 2

The words ‘light’ means to get guidance. The author wants to tell the reader that

light is compared with guidance

HISTORICAL APPROACH

This poems was born on Harlem Renaissance era , Written by Claude McKay. This

poems tells about movement of African people to America. They work as slavery in

America. From this case, the government of United States always choose most white

than black people ( Negro). So, the author care about this problem and wrote this poems.

BIOGRAPHICAL APPROACH

Claude McKay is from Jamaica. He is the first person to express the Negro in

America. From this case, he join the organization in that era. One of his organizations

was Negro Renaissance. He tries to contribute actively inside making many poems about

equality of people in order to make many people realize that equality is important in the

world. This occurred in 1920’s. On the eve of his departure to the United States, McKay

appeared to be an ambitious, talented young man with a fine future in Jamaica. In his

poetry he had closely identified himself with its people. He had also revealed a deeply

sensitive, independent spirit, keenly responsive to the good and evil in both man and

nature.

Like many before him, however, he was strongly attracted to the United States.

Years later, he wrote that America then seemed to him, "a new land to which all people

who had youth and a youthful mind turned. Surely there would be opportunity in this

land, even for a Negro." Although far from naive, McKay had never experienced firsthand

American racial prejudice, and he seemed to have been totally unprepared for its vicious

effects

--

HANDOUT 12GROUP IAnita Khurniawati / 115110100111024Rosyidah Nuzqia Fitri / 115110100111012Kartika Candra Rini / 115110100111112

Success is Counted Sweetest‘Success is ‘counted ‘sweetest a/ ‘ - / - ‘ / - ‘ - / iambic trimeter with a trochee on the 1st foot‘By those ‘who ‘ne’er ‘succeed b / ‘ - / ‘ - / ‘ - / trochaic trimeter To ‘compre’hend  a ‘nectar c / - ‘ / - ‘ / - ‘ - / iambic trimeter ‘Requires ‘sorest ‘need. b/ ‘ - / - ‘ / - ‘ / iambic trimeter with a trochee on the 1st foot

‘Not one of ‘all  the ‘purple ‘Host d/ ‘ - / - ‘ / - ‘ / - ‘ / iambic tetrameter with a trochee on the 1st footWho ‘took  the ‘Flag  to’day  e/ - ‘ / - ‘ / - ‘ / iambic trimeterCan ‘tell  the ‘defini’tion  f/ - ‘ / - ‘ / - - ‘ / iambic trimeter with an anapest on the 3rd footSo ‘clear of ‘victor’y  g/ - ‘ / - ‘ / - ‘/ iambic trimeter

‘As he ‘defeated –‘ dying h/ ‘ - / ‘ - - / ‘ - / trochaic trimeter with a dactyl on the 2nd footOn ‘whose for’bidden ‘ear  i/ - ‘ / - ‘ / - ‘ / iambic trimeterThe ‘distant ‘strains of ‘triumph j/ - ‘ / - ‘ / - ‘ - / iambic trimeter‘Burst a ‘gonized  and ‘clear! i/ ‘ - / ‘ - / - ‘ / trochaic trimeter with an iamb on the 3rd foot

Summary

The speaker says that “those who ne’er succeed” place the highest value on success. (They “count” it “sweetest”) To understand the value of a nectar, the speaker says, one must feel “sorest need.” She says that the members of the victorious army (“the purple

Host / Who took the flag today”) are not able to define victory as well as the defeated, dying man who hears from a distance the music of the victors.

Theme “The ones who understand success the best are those who have never experience it”

In Dickinson’s poem, the loser knows meaning ‘definition’ of victory better than the winners. The implication is that he has ‘won’ this knowledge by paying so high price, with anguish of defeat and with his death.

Message If you want to know what it's like to win ask the one who lost.

Because based on her poem, just failures can fully understand the meaning of success.

Appreciating a gift requires privation .When you suffering because of many failures, then you will appreciate success, even the small thing that you well done.

Figures of speech a. Metaphor:

“Success is counted sweetest” ( stanza 1, line 1 )= directly compare success to the sweetest thing.

b. Hyperbole- “The distant strains of triumph, Burst agonized and clear!” ( stanza 3, line 3 )= it

is very dramatic too describe the distant victory he has.- “Not one of all the purple Host“ ( stanza 2, lines 1 )= it is too exaggerated when

she wrote ‘not one of all’.c. Metonymy

“…took the flag (victory)” ( stanza 2, line 2 )= in the battle, who took the flag is associated with the victor.

d. Paradox“Success is counted sweetest, By those who ne'er succeed” ( stanza 1, lines 1-2 )= at the first it seems absurd, how can success is counted sweetest by losers. But in some sense it is true because the losers tend to desire success more acutely when they do not have them.

e. ImageryKinetic: “To comprehend” ( stanza 1, line 3 )= is kind of activity which using your

mind. “took the Flag” (stanza 2, line 2 )= is an action. “he defeated--dying--“( stanza 3, line 1)= defeated is kind of motion after the

battle dying is kind of motion.Auditory: “Can tell” ( stanza 2, line 3 )= is describe as can produce the sound as well.

Stanzaic FormThere are three stanzas; stanzas 1 until 3 are quatrain.

Sound pattern-rhyme-In this poem she repeats the sound ‘s’, ’t’, and ‘d’. This is alliteration. As you can see on the first stanza, line one: Success is counted sweetest. After that you can see on the second stanza, line two: Who took the Flag today. And the other one you can see on the last stanza, line one: As he defeated--dying---The words “Flag” and “purple” giving a sense of military situation in how the lines sound.

Historical approachThis poem seems to be one of the more masculine of Dickinson’s works. The scene of the battlefield and the loneliness of the dying soldier contribute to this impression. The idea of home was important to her, and the sense is that this soldier is far from his home and its comforts. Perhaps there is some condemnation of the masculine pursuit of warfare, or of war in general. Emily Dickinson’s brother, Austin Dickinson, paid another to go in his place when he was conscripted for the Civil War (to do so was not only allowed, it was a common practice among the upper classes, with apparently no shame attached). This poem is believed to have been written before the war, likely in1859. But Dickinson’s poems about violence and warfare do not shrink from descriptions of the bloodiness and the losses of battle.

DictionStanza 1Success is counted sweetest By those who ne’er succeed. To comprehend a nectar Requires sorest need.

The poet proposes in the First Stanza, Lines 1 - 4, that success is the ultimate triumph and is sweetest to those who desperately desire it but have never obtain it. Success is sweetest to them than to the people who already have power and success. In Lines 3 and 4 , Emily use some diction to illustrate the ideas, such as Nectar and Sorest. She uses “nectar” in Line 3. In her century, nectar was still considered an ordinary staple among the elite, just as it was to the Romans gods. Should the sweet nectar become scarce, even for a brief period, the elite would probably have had great cravings for the sweet drink. No other drink would quench their thirst in its absence. While, in Line 4 she uses “sorest” that have old meaning as Greatest or Intense.

Stanza 2Not one of all the purple hostWho took the flag to-day Can tell the definition, So clear, of victory

In the first two lines of the second stanza, Emily says “ Not one of all the purple host who took the flag today”. This lines illustrate that a group of people one a battle or had triumph of some sort, Emily continues in this stanza saying “Can tell the definition, so clear of victory”. These

last two lines say that nobody in this group can tell what the greatness of their victory is and that they don’t think of it being successful at all. Emily highlights the word “to-day” to underline the presentness and transiency of the situation. “Purple” word is the color of royalty because the fine clothes of kings and emperors were dyed purple, and also connotes “blood”. while, Flag in this poem is a symbol of victory.

Stanza 3As he, defeated, dying, On whose forbidden earThe distant strains of triumph Burst, agonized and clear!

The use of diction such as forbidden, strains and the final line paint a clear portrait of a soldier who on death's door, hears the cries of the victors. The last line describes the sorrow the man feels perfectly, straining to hear, the sounds of the joyous victors kick him while he's down.

-- References

Prridy, A. (2008). Bloom’s How to Write about Emily Dickinson. Retrieved 12 May 2013 fromhttp://id.scribd.com/doc/85550248/3/-”SUCCESS-IS-COUNTED-SWEETEST”

HANDOUT 13

Poetry I

By Group 11:

1. Anita Febristya (115110101111052)2. Dewanty Ajeng H.K (115110101111065)3. Lindiyah Kumayanti (115110101111066)

English Language and Literature

Faculty of Culture Studies

Brawijaya University

May 2013

I. The Poem and Explanation

Stopping by Woods on a Snowy Evening

By Robert Frost

Whose woods these are I think I know. (a)

/ - ‘ / - ‘/ - ‘ / - ‘ / iambic tetrameter

His house is in the village, though; (a)

/- ‘ / - ‘ / - ‘ / - ‘ / iambic tetrameterHe will not see me stopping here (b)

/- ‘ / - ‘/ - ‘ / - ‘ / iambic tetrameterTo watch his woods fill up with snow. (a)

/- ‘/ - ‘ / - ‘ / - ‘ / iambic tetrameter

My little horse must think it queer (b)

/- ‘/ - ‘ / - ‘/ - ‘ / iambic tetrameterTo stop without a farmhouse near (b)

/- ‘ / - ‘/ - ‘ / - ‘/ iambic tetrameterBetween the woods and frozen lake (c)

/- ‘ / - ‘ / - ‘ / - ‘ / iambic tetrameterThe darkest evening of the year. (b)

/- ‘/ - ‘/ - ‘ / - ‘ / iambic tetrameter

He gives his harness bells a shake (c)

/- ‘ / - ‘/ - ‘/ - ‘/ iambic tetrameterTo ask if there is some mistake. (c)

/- ‘ / - ‘ / - ‘ / - ‘ / iambic tetrameterThe only other sounds the sweep (d)

/- ‘/- ‘/- ‘ /- ‘/ iambic tetrameterOf easy wind and downy flake. (c)

/- ‘/- ‘/ - ‘/ - ‘/ iambic tetrameter

The woods are lovely, dark, and deep, (d)

/- ‘ / - ‘/ - ‘ / - ‘ / iambic tetrameter

But I have promises to keep, (d)

/- ‘/ - ‘/ - ‘/ - ‘/ iambic tetrameterAnd miles to go before I sleep, (d)

/- ‘ / - ‘/ - ‘/ ‘ ‘ / iambic tetrameter with a spondee on the 4th foot

And miles to go before I sleep. (d)

/- ‘ / - ‘/ - ‘/ ‘ ‘ / iambic tetrameter with a spondee on the 4th foot

1. SummaryThe speaker talks about his experience in the middle of his journey when he stops in the snowy woods. He is dazzled with the beautiful of the woods. He wants to stay a little longer but he has to continue his journey for fulfill his promises before he die.

2. Stanzaic FormThere are four stanzas; each stanza contains of four lines and called Quatrain.

3. Rhymea. The rhyme scheme of the poem is aaba, bbcb, ccdc, dddd.b. Rhymes :

Perfect rhyme:

Whose woods these are I think I know.   His house is in the village though;   He will not see me stopping here   To watch his woods fill up with snow.   

My little horse must think it queer   To stop without a farmhouse near   

Between the woods and frozen lake   The darkest evening of the year

He gives his harness bells a shake   To ask if there is some mistake.   The only other sound’s the sweep   Of easy wind and downy flake.   

The woods are lovely, dark and deep.   But I have promises to keep,   And miles to go before I sleep,   And miles to go before I sleep.

Alliteration:Whose woods these are I think I know.   His house is in the village though;   

He gives his harness bells a shake   

4. Inference about the rhyme scheme and metrical analysis.From the analysis above, we can know that the poem tells us about the experience story of the speaker. The last two lines in the 4th stanza show us that before he dies, he still has promises to be fulfilled.

5. MessageThe message is to tell us that if we have a promise, we need to keep it until it fulfilled even though we hesitate for a while before we really cannot breathe again or die.

6. Analysis of figurative language

Personification:“My little horse must think it queer to stop without a farmhouse near” (stanza 2 line 1&2) shows that the horse is not actually thinking. It just the speaker’s way to make a dramatic effect to support that he is in the middle of woods.

Hyperbole:“The darkest evening of the year” (stanza 2 line 4) shows that the condition in the woods is gloomy because of winter. This line tells us that in the middle of woods are also no house so there’s no lighting.

Imagery:Whose woods these are I think I know.   His house is in the village though;   He will not see me stopping here   To watch his woods fill up with snow.    (Sight)

My little horse must think it queer   To stop without a farmhouse near   Between the woods and frozen lake    (Sight)The darkest evening of the year

He gives his harness bells a shake    (Sight)To ask if there is some mistake.   The only other sound’s the sweep   (Sound) Of easy wind and downy flake.   

The woods are lovely, dark and deep.    (Sight)But I have promises to keep,   And miles to go before I sleep,   And miles to go before I sleep.

7. ThemeTry to keep promises, even though there is a hesitation.

8. Historical approachThis poem draws about someone’s journey in the middle of the woods after hesitating for some times then he continue his journey because he has promises to keep. It’s the same as Robert Frost’s journey to his home from the market. He wanted to buy Christmas presents for his children but he did not have enough money. His stop in the sidewalk because of his hesitation, but after his horse shake his body and make the bell on the harness ring, it seems that the horse tried to cheer him up. Then, he continued his journey to go home because he already had a promise to his children (Vincent, 2009)

--

References :

-. edited by Edward Connery Lathem. Copyright 1923, © 1969 by Henry Holt and Company, Inc., renewed 1951, by Robert Frost. Retrieved on 22 may 2013 from http://www.poetryfoundation.org/bio/robert-frost

Vincent, Caitlin. Jordan Reid Berkow ed. "Robert Frost: Poems Study Guide : Summary and Analysis of "Stopping by Woods on a Snowy Evening" (1923)". GradeSaver, 12 May 2009 Web. 22 May 2013.

HANDOUT 14

POETRY ANALYSIS

If

by Rudyard Kipling

Group 9

Andri Anti ()

Nida Madiha (115110105111002)

Krisnawati Sigiro (115110100111062)

Zhafarina Ludwika (115110100111106)

English Literature

Faculty of Culture Studies

Brawijaya University

2013

IF – Rudyard Kipling

If ‘you can‘keepyour ‘head when ‘all a’bout you a|- ‘|- ‘ |- ‘ |- ‘ |- ‘ | - | Iambic Pentameter with extra syllableAre ‘losing‘theirsand ‘blaming ‘iton ‘you, a|- ‘|- ‘|-‘|- ‘|- ‘ | Iambic PentameterIf ‘you can ‘trust your’selfwhen ‘allmen ‘doubt you, a|- ‘ |- ‘ |- ‘ |- ‘|-‘|- | Iambic Pentameter with extra syllableBut ‘make ‘allowance ‘for their ‘doubting too; a|- ‘| ‘-|- ‘| - ‘ |- ‘ | Iambic Pentameter with trochaic in the 2nd

footIf ‘you can ‘wait and ‘not be ‘tired by ‘waiting, b|- ‘|- ‘ |- ‘|- ‘ |- ‘ | - | Iambic Pentameter with extra syllableOr ‘being‘lied a’bout,dont ‘dealinlies, c|-‘|’-|’- |’ -| - | Trochaic Tetrameter with Iambic in the 1st foot and extra syllableOr ‘being ‘hated, dont ‘give ‘way to ‘hating, b|- ‘ |’ - |- ‘| ‘ - |’ - | 3 Trochaic and 2 Iambic PentameterAnd‘yet dont ‘look too ‘good, nor ‘talk too ‘wise: c|- ‘|- ‘ |- ‘|- ‘|- ‘ | Iambic Pentameter

If ‘you can ‘dream—and ‘not make ‘dreams your ‘master; d|- ‘|- ‘ |- ‘ |-‘ |- ‘ | - |Iambic Pentameter with extra syllableIf ‘you can ‘think—and not make ‘thoughts your ‘aim; e|- ‘ |- ‘ |- ‘ |- ‘ |- ‘ | Iambic PentameterIf ‘you can ‘meet with ‘Triumph and ‘Disas’ter d|- ‘ |- ‘ |- ‘ |- ‘ |- ‘ | Iambic PentameterAnd ‘treat those ‘two im’postors ‘just the ‘same; e|- ‘ |- ‘ |- ‘ |- ‘ |- ‘ | Iambic PentameterIf ‘you can ‘bear to ‘hear the ‘truth you’ve spoken f|- ‘ |- ‘ |- ‘ |- ‘ |- ‘ | - | Iambic Pentameter with extra syllableTwisted by ‘knaves to ‘make a ‘trap for ‘fools, g|’ - |- ‘ |- ‘ |- ‘ |- ‘ | Iambic Pentameter with trochaic in the 1st footOr ‘watch the ‘things you ‘gave your ‘life to, ‘broken, f|- ‘ |- ‘ |- ‘ |- ‘ |- ‘ | - | Iambic Pentameter with extra syllableAnd ‘stoop and ‘build em ‘up with ‘worn-out ‘tools: g|- ‘ |- ‘ |- ‘ |- ‘ |- ‘ | Iambic Pentameter

If ‘you can ‘make one ‘heap of ‘all your winnings h|- ‘|- ‘ |- ‘ |- ‘ |- ‘ | - | Iambic Pentameter with extra syllableAnd ‘risk it ‘on one ‘turn of ‘pitch-and-‘toss, i|- ‘ |- ‘ |- ‘ |- ‘ |- ‘ | Iambic PentameterAnd ‘lose, and ‘start a’gain at ‘your ‘beginnings h|- ‘ |- ‘ |- ‘ |- ‘ |’-| - | Iambic Pentameter with trochaic in the 5th

foot and extra syllableAnd ‘never ‘breathe a ‘word a’bout your ‘loss; i|- ‘|- ‘ |- ‘ |- ‘ |- ‘ | Iambic Pentameter with extra syllableIf ‘you can ‘force your ‘heart and ‘nerve and ‘sinew a|- ‘|- ‘ |- ‘ |- ‘ |- ‘ | - | Iambic Pentameter with extra syllableTo ‘serve your ‘turn long ‘after ‘they are ‘gone, j|- ‘ |- ‘ |- ‘ |- ‘ |- ‘ | Iambic PentameterAnd ‘so hold ‘on when ‘there is ‘nothing in you a|- ‘|- ‘ |- ‘ |- ‘ |- ‘ | - | Iambic Pentameter with extra syllableEx’cept the ‘Will which ‘says to ‘them: “Hold on!” j|- ‘ |- ‘ |- ‘ |- ‘ |- ‘ | Iambic Pentameter

If ‘you can ‘talk with ‘crowds and ‘keep your ‘virtue, a|- ‘|- ‘ |- ‘ |- ‘ |- ‘ | - | Iambic PentameterOr ‘walk with ‘Kings—nor ‘lose the ‘common ‘touch, k|- ‘ |- ‘ |- ‘ |- ‘ |- ‘ | Iambic PentameterIf ‘neither ‘foes nor ‘loving ‘friends can ‘hurt you, a|- ‘|- ‘ |- ‘ |- ‘ |- ‘ | - | Iambic Pentameter with extra syllableIf ‘all men ‘count with ‘you, but ‘none too ‘much; k|- ‘|- ‘ |- ‘ |- ‘ |- ‘ | Iambic PentameterIf ‘you can ‘fill the ‘unfor’giving ‘minute l|- ‘|- ‘ |- ‘ |- ‘ |- ‘ | - | Iambic Pentameter with extra syllableWith ‘sixty ‘seconds‘worth of ‘distance ‘run, m|- ‘|- ‘ |- ‘ |- ‘ |- ‘ | Iambic Pentameter‘Yours is the ‘Earth and ‘every’thing ‘thats in it, l|’ - |- ‘ |- ‘ |- ‘ |’ - |-| 3 Iambic and 2 Trochaic Pentameter with extra syllableAnd—‘which is ‘more—you’ll ‘be a ‘man, my ‘son! m|- ‘ |- ‘ |- ‘ |- ‘ |- ‘ | Iambic Pentameter

--

Rhyme

1. Internal rhyme Losing – Blaming (stanza 1 line 2)

2. Assonance

Too good – Too wise (stanza 1 line 8)3. Alliteration

D on’t deal in lines (stanza 1 line 6) Build ‘em up with worn-out tools (stanza 2 line 8) With sixty seconds’ (stanza 4 line 6)

4. Perfect rhyme All about you – It on you – Men doubt you (stanza 1 line 1 2 3)

Function : to emphasize how important “you” is5. Half rhyme

Tired by waiting (stanza 1 line 5)Way to hating (stanza 1 line 7)

Deal in lies (stanza 1 line 6)Talk to wise (stanza 1 line 8)

Dreams your master (stanza 2 line 1)Disaster (stanza 2 line 3)

Thoughts your aim (stanza 2 line 2)Just the same (stanza 2 line 4)

You’ve spoken (stanza 2 line 5)Broken (stanza 2 line 7)

Trap for fools (stanza 2 line 6)Worn-out tools (stanza 2 line 8)

Your winnings (stanza 3 line 1)Your beginnings (stanza 3 line 3)

Pitch-and-toss (stanza 3 line 2)About your loss (stanza 3 line 4)

Nerve and sinew (stanza 3 line 5)Nothing in you (stanza 3 line 7)

Keep your virtue (stanza 4 line 1)Can hurt you (stanza 4 line 3)

The common touch (stanza 4 line 2)None too much (stanza 4 line 4)

Unforgiving minute (stanza 4 line 5)That’s in it (stanza 4 line 7)

Distance run (stanza 4 line 6)My son (stanza 4 line 8)

Theme

Some advices to be real men.

Summary

If can be explained as a advice or suggestion from a father to his son. By saying “if”, the father want to say the way when you become a real man are if you can face all your hard situation by yourself , if you can trust yourself even everybody

doubt of you. If you can survive when you are lied and you are not lying, or if you are hated and you are not hating.

Message

When you have a dream or a big goal in your life, don’t be too obsessed and be too exaggerated, because it’s going to bring you to a bigger problem. Listen to other’s advice and don’t forget to see your weaknesses because it makes you become more precious.

Stanzaic Forms

There are four stanzas; stanzas 2 to 4: an octave.

The stanza consists of eight lines written in iambic pentameter. Every stanza consist of iambic pentameter even though there are many extra syllables and the other metrical feet.

Figurative Language

STANZA 1

Irony“If you can keep your head when all about youAre losing theirs and blaming it on you,”It is called irony because in 1st line had represent the most important part in our body. And then, these two lines mean someone who keeps his/her faith eventhough people around her/him disagree with her/him faith.

STANZA 2

Personification“If you can dream---and not make dreams your master”In this line, master means someone who leads you to get something. But, don’t let something to ‘over control’ your life. You should lead yourself to get something.

“If you can meet with Triumph and DisasterAnd treat those two impostors just the same;”This is called personification because Triumph and Disaster is not creature. This line means we can get triumph and disaster in our life in the same time. But don’t be drifted in our victory and defeated.

STANZA 3

Personification

“Except the Will which says to them: ‘Hold on!’”In this line, “the Will” means like desirability. So our desirability can make our heart, nerve and sinew to be a part to give or make us stronger than before.

STANZA 4

Personification“If you can fill the unforgiving minuteWith sixty seconds’ worth of distance run”The writer has an old sad story about his son, John. John has chosen a wrong option in his life and he wasted his priceless time and life. And then, this line means don’t waste your time for useless thing. Because your life can’t goes back. So you must deserve your priceless time.

Metaphor“Yours is the Earth and everything that’s in it,And---which is more---you’ll be a Man, my son!”The writer wanted to tell his son that he would become a real man. Because everything that John desire exist in this world. In this line, the metaphor part is in the ‘yours is the earth’ which means you have a lot of chances in this world.

Apostrophe“If you can talk with crowds and keep your virtue,Or walk with Kings---nor lose the common touch,”This line means that you are equal with the great people. ‘Kings’ in this line means the great people. That’s why we said this line included apostrophe.

Biographical approach

This poem related with his life, Kipling was especially close to his mother and his sister. At the age of 6, Kipling's life was torn apart when his mother sent him to South sea, England, where he attended school and lived with a foster family named the Holloways. These were hard years for Kipling. Mrs. Holloway was a brutal woman, who quickly grew to despise her young foster son. She beat and bullied Kipling, who also struggled to fit in at school. This treat build Kipling character to be a real man.

Kipling became a famous writer and had a happy family when a sorrow came when his beloved children name Josephine passed away. Time passed away and As much of Europe braced for war with Germany, Kipling proved to be an ardent supporter of the fight. In 1915, he even traveled to France to report on the war from the

trenches. He also encouraged his son John to enlist. Since Josephine's death, Kipling and his boy had grown tremendously close. It was for John that Kipling wrote one of his famous poems, "If."

Historical Approach

World war I, in 1915 Kipling encouraged his son John to enlist. Since Josephine's death, Kipling and his boy had grown tremendously close. He want his son John joined with military and support John to be a real man, who can stand in his feet and struggle for something .Finally Kipling made use of his connections and managed to get John enlisted with the Irish Guard as a second lieutenant.

Conclusion of analysis

We can conclude that we can learn so many things in this poem, such as the dreams, the wish, the success, the failure and many more things in our daily life. But, we can know that we can be success cause of our hard work. Failure is also the part of the successful.

References

Online

_____. (2002). If. Retrieved 21 May 2013 from http://www.poemhunter.com/poem/if/

_____. (2013). Poetry Analysis Essay on Rudyard Kipling’s If. Retrieved 22 Mei 2013 from http://onlinehelp4students.blogspot.com/2013/02/poetry-analysis-essay-on-rudyard.html

Krupa. (2011). IF - RUDYARD KIPLING. Retrieved 25 Mei 2013 from http://unit3english.blogspot.com/2011/02/if-rudyard-kipling.html

Scarborough. (2010). Language Arts: If by Rudyard Kipling. Retrieved 26 Mei 2013 from http://cmm7thgifted.blogspot.com/2010/05/language-arts-if-rudyard-kipling.html

Other

Team, Poetry.(2013). Poetry. Malang: Faculty of Culture Studies Brawijaya University.