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IMAGERY AND FIGURATIVE LANGUAGE ANALYSIS
ON ROBERT FROST’S POEMS:
TO EARTHWARD AND WIND AND WINDOW FLOWER
M. DAMANHURI
NIM. 106026001009
ENGLISH LETTERS DEPARTMENT
FACULTY OF ADAB AND HUMANITIES
STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH
JAKARTA
2011
IMAGERY AND FIGURATIVE LANGUAGE ANALYSIS
ON ROBERT FROST’S POEMS:
TO EARTHWARD AND WIND AND WINDOW FLOWER
A Thesis
Submitted to Letters and Humanities Faculty
In Partial Fulfillment of the Requirements for
Strata One Degree (S1)
M. DAMANHURI
NIM. 106026001009
ENGLISH LETTERS DEPARTMENT
FACULTY OF ADAB AND HUMANITIES
STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH
JAKARTA
2011
i
ABSTRACT
M. Damanhuri, Imagery and Figurative Language Analysis on Robert Frost’s poems: To Earthward and Wind and Window Flower. Thesis. Jakarta: English Letters Department, Faculty of Adab and Humanities, State Islamic University “Syarif Hidayatullah” Jakarta.
In this thesis, the writer focuses on the analysis of imagery and figurative language in Robert Frost poems. They are To Earthward and Wind and Window Flower. The writer uses descriptive qualitative analytic method. He analyses the structure by reading the poem carefully and giving the attention for each line that contains imageries and figurative languages. The writer uses the theory of imagery and figurative of language to analyze the poem. By analyzing the structure of the poem, the writer is able to define the meaning of the lines that contain imageries and figurative language and their contribution to the meaning of the poems.
The result of this study shows that Robert Frost uses imagery and figurative language in his poems. There are many kinds of imagery and figurative language in the poems. In To Earthward, there are only four imageries from seven types of imageries. There are visual imagery, auditory imagery, olfactory imageries, and organic imagery. Robert Frost uses hyperbole as figurative language. In Wind and Window Flower, Robert Frost uses a visual imagery and auditory imagery. Robert Frost also uses metaphor, personification, and hyperbole as figurative language.
ii
APPROVEMENT
IMAGERY AND FIGURATIVE LANGUAGE ANALYSIS
ON ROBERT FROST’S POEMS:
TO EARTHWARD AND WIND AND WINDOW FLOWER
A Thesis
Submitted to Letters and Humanities Faculty
In Partial Fulfillment of the Requirements for
Strata One Degree (S1)
M. DAMANHURI
NIM. 106026001009
Approved by:
Advisor,
Elve Oktafiyani, M. Hum
NIP. 19781003 200112 2 002
ENGLISH LETTERS DEPARTMENT
LETTERS AND HUMANITIES FACULTY
STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH
JAKARTA
2011
iii
LEGALIZATION
Name : M. Damanhuri
NIM : 106026001009
Title : Imagery and Figurative Language Analysis on Robert Frost’s Poem
To Earthward and Wind and Window Flower
The thesis has been defended before the Faculty Letters and Humanities’ Examination Committee on February 28th, 2011. It has been accepted as a partial fulfillment of the requirements for the degree of strata one.
Jakarta, March 18th, 2011
The Examination Committee
Signature Date
1. Drs. Asep Saefuddin, M.Pd 19640710 199303 1 600
(Chair Person)
2. Elve Oktafiyani, M.Hum 19781003 200112 2 002
(Secretary)
3. Elve Oktafiyani, M.Hum 19781003 200112 2 002
(Advisor)
4. Moh. Supardi, M.Hum
(Examiner I)
5. Maria Ulfa, M.A.,M.Hum (Examiner II)
v
ACKNOLEDGEMENT
First of all, the writer would like to give the most appreciation and many
thanks to Allah Swt., the lord of the universe and the thereafter. He is sure that he
can not do anything without Him. He guides us with all of His blessed in our life.
Then, peace and blessing is upon to our beloved prophet Muhammad Saw and all
of his followers.
The writer would like to express his highest gratitude to all his family, and
special for his parent H.Damai Arimaya and Hj. Fatmah for giving spirits that
makes his strong and always give the writer prayer and motivation (I love you
mom, I love you dad). To his beloved siblings (Nana, Lia, Nisa, Ucok) for always
make him laugh and entertain him whenever he was down and also special his
beloved person, Azizatul Hamidiyah, for all inspiration, motivation, spirit and
joking that will never forget and replaceable.
The writer can not fail to mention his advisor Mrs. Elve Oktafiyani, M.
Hum for her great patients and contributions in finishing this paper. He thanks for
all of her advices that have been given to him; may Allah Swt blessing her and her
family.
The writer also wishes to say her gratitude to the following persons:
1. Dr.Wahid Hasyim, MA, the Dean of Faculty of Letters and Humanities
State Islamic University Syarif Hidayatullah Jakarta.
2. Drs. Asep Saefuddin, M.Pd, the Head of English Letters Department.
vi
3. Mrs. Elve Oktafiyani, M. Hum as the Secretary of English Letters
Department.
4. All lecturers of English Letters Department for taught and educated him
very well during his study at UIN Syarif Hidayatullah Jakarta.
5. For all his beloved closed friends: Novita Sari Dewi ‘Emon’ Prawiradireja,
Lia Fadhilah, Phatya ‘Sopic’ Nilam and Nurul ‘Mbayu”Khasanah for all
supports and motivations for him. He knows that they were the best that he
ever had in his life; friendship forever.
6. All of her beloved friends at English Letters Department: Anila ‘Emak’
Safitri, Adnan ‘Tulang’ Rosyid, Cahya, Zainal Muttaqin, Nanang, Lorania,
Irul, Reza, Sujad Bil Ghoram, Badriduja, Trisno, Arni Aviah, Dian
Rahmawati, Puspa Mega, Resmita ‘45’ Siska, Tuti “qiqi” Zakiyah, Indah
Ponika, Zhoya, Arif Budi ‘Djarwo’ Winarto, Icha, Nadya, Linda, Ninda,
Sri, jeng Elin, Jay, Ayung, Rosyid, Tirta, Mira, Anggi, etc., for struggling
with him until the end.
7. All of his friends in Bu Rashid’s Lodging House; special for Fauzi Choiri
Ridwan, Nurkholis Azizi, Ali Khumaeni, Helmy Hidayat, Aris ‘Jamet’
Aristiani, for the motivation, togetherness and friendship.
8. All members of UKM BAHASA FLAT
Finally, may Allah gives His blesses to us, amien.
Jakarta, 11 February 2011
The writer
vii
TABLE OF CONTENT
ABSTRACT ..................................................................................................... i
APPROVEMENT .......................................................................................... ii
LEGALIZATION .......................................................................................... iii
DECLARATION ........................................................................................... iv
ACKNOWLEDGEMENT ............................................................................ v
TABLE OF CONTENT ................................................................................ viii
CHAPTER I INTRODUCTION............................................................ 1
A. Background of the Study …………………………………... 1
B. Focus of Study ……………………………………………. 5
C. Research Question ………………………………………… 5
D. Significance of the Study …………………………………. 5
E. Research Methodology …………………………………… 5
CHAPTER II THEORETICAL FRAMEWORK ............................... 8
A. Imagery ……………………………………………………. 8
B. Kinds of Imagery …………………………………………… 9
1. Visual Imagery ................................................................ 9
2. Auditory Imagery ……………………………………….. 10
3. Tactile Imagery ………………………………………… 11
4. Olfactory Imagery ……………………………………… 11
5. Gustatory Imagery ……………………………………… 12
6. Organic Imagery ………………………………………… 12
viii
7. Kinesthetic Imagery ……………………………………… 13
C. Figurative Language ……………………………………….. 13
CHAPTER III RESEARCH FINDING ……………………………… 19
A. Data Description …………………………………………… 19
1. The Poem of To Earthward …………………………….. 19
2. The Poem of Wind and Window Flower ……………….. 22
B. Analysis data ……………………………………………… 24
1. Imagery in To Earthward ………………………………. 24
2. Figurative Language in To Earthward…………………… 30
3. Imagery in Wind and Window Flower …………………. 31
4. Figurative Language in Wind and Window Flower ……... 34
CHAPTER IV CONCLUSION AND SUGGESTION………………… 36
A. Conclusion …………………………………………………. 36
B. Suggestion …………………………………………………. 37
BIBLIOGRAPHY ......................................................................................... 38
APPENDIX
1
CHAPTER I
INTRODUCTION
A. Background of the Study
Poetry is the universal language used by the poets to express their ideas in
beautiful words.1 As a universal language, poetry has existed almost in all period.
Poetry is a unique medium of communication, it is created in the form of a brief
language, and it is differs from other literary works.
Etymologically, the word 'poetry' in the Greek comes from ‘poesis’, which
means making or creates. In English, poetry is closely with “poet” and “poem”.
The word “poet” comes from Greek; which means make or create. In Greek, the
word poet means the person who creates through his imagination, a person who
almost seems as god or like to god. People who are perspicacious, saints, who was
also a philosopher, statesman, teacher, someone who can guess the truth is
hidden.2
Poetry (Dutch: poezie,) is flow of sense expression out from heart into a
language that has rhythmic and a value of beauty. Language used by a poet as a
tool to record their surrounding life and described it to a poetry.3 To some people,
1 Laurence Perrine and Thomas R.A.P.P.,Sound And Sense: An Introduction to Poetry Eight
Edition.(Orlando : Harcourt Brace College Publisher,1992), p.3 2 Ulysses Ronquilo, Puisi, http://www.definisi dan unsur-unsurnya.htm, 2009. p.1 (Accessed on
September 20th,2010) 3 Sapardi Djoko Damono, Susastra 5: Jurnal Ilmu Sastra dan Budaya, (Depok: 2007), p.4
2
poetry is difficult to be understood. This is because the power of language is
arranged by concentration of the physical and mental structures that contain very
deep meanings and need role of the heart to understand and comprehend the
meaning.
The strength of poetry is composed by intensification process and process of
imagination (imagery). In intensification process, the elements of poetry try to
reach a problem or something more profound or fundamental, and the imagination
process, in which all the elements in the poem has a function to create or build an
image or a particular image. The sound and rhyme, the connection of the lyrics
(lines) with other lyrics or a stanza with another stanza, and the choice of words
and idioms have function to build a particular imagination or picture that suggests
the poem. Then, the imagination gives a whole meaning to a poem.
In poetry, the image or picture is a representation of words or something that
the writer feels. Imagery is a composite of word that we use for various imaging.
The picture can be an object that can be seen, hearing, smell, taste, touch or
physical sensation, or feeling of tension and movement in the body.4
According to Altenberd, imagery is the images of idea or thoughts and
language that describe it. Imagery is a tool to understand the poetic, and of course
we must understand the word used by the writer. Each imagination expressed by
the writers with the right words.5
4 Richard Ellemann and Robert O’clair, Modern Poems, An Introduction to Poetry: ( W.W.Norton
and Company, Inc, 1999). p.60 5 Ahmad Badrun, Pengantar Ilmu Sastra, (Surabaya: Usaha Nasional,2000), p.54
3
The imagery and figurative language can be seen in a poem written by
Robert Frost entitled To Earthward. Robert Lee Frost was born in San Francisco,
March 26, 1874 and died in Boston, January 29, 1963. He was one of America's
leading 20th-century poets and a four-time winner of the Pulitzer Prize. An
essentially pastoral poet often associated with rural New England, Frost wrote
poems whose philosophical dimensions transcend any region. Although his verse
forms are traditional - he often said, in a dig at arch rival Carl Sandburg, that he
would as soon play tennis without a net as write free verse - he was a pioneer in
the interplay of rhythm and meter and in the poetic use of the vocabulary and
inflections of everyday speech. His poetry is thus traditional and experimental.6
Frosts sailed for the United States in February 1915 and landed in New
York City two days after the U.S. publication of North of Boston (the first of his
books to be published in America). Sales of that book and of A Boy's Will enabled
Frost to buy a farm in Franconia, N.H.; to place new poems in literary periodicals
and publish a third book, Mountain Interval (1916); and to embark on a long
career of writing, teaching, and lecturing. In 1924, he received a Pulitzer Prize in
poetry for New Hampshire (1923). He was lauded again for Collected Poems
(1930), A Further Range (1936) and A Witness Tree (1942). Over the years he
received an unprecedented number and range of literary, academic, and public
honors.7
6 R.H. Winnick, Biography of Robert Frost, http://www.americanpoem.com.html, 2000. p.1
(Accessed on September 20th, 2010) 7 Ibid., p.1 (Accessed on September 20th, 2010)
4
Frost's importance as a poet derives from the power and memorable of
particular poems. The Death of the Hired Man (from North of Boston) combines
lyric and dramatic poetry in blank verse. After Apple-Picking (from the same
volume) is a free-verse dream poem with philosophical undertones. Mending Wall
(also published in North of Boston) demonstrates Frost's simultaneous command
of lyrical verse, dramatic conversation, and ironic commentary. The Road Not
Taken, Birches (from Mountain Interval) and the oft-studied Stopping by Woods
on a Snowy Evening (from New Hampshire) exemplify Frost's ability to join the
pastoral and philosophical modes in lyrics of unforgettable beauty.8
Robert Frost said, “Every poem I wrote is figurative in two senses. It will
have figures in it, of course; but it’s also a figure in itself- a figure for something,
and it’s made so that you can get more that one figure out of it.9Referring to the
definition above, the writer interested to analyze imagery and figurative language
used on two poems by Robert Frost, they are: To Earthward and Wind and
Window Flower.
8 Ibid., P.1(Accessed on September 20th,2010) 9 Anonymous, the poetic of Robert frost http://www.frost friend.org/figurative.html, 2004. p.1
(Accessed on September 20th,2010)
5
B. Focus of the Study
In doing this research, the writer focuses on the analysis of the intrinsic
element of poem; they are imagery and figurative language in Robert Frost’s
poem, To Earthward (1923) and Wind and Window Flower (1913).
C. Research Question
Based on the explanation above, the research question is formulated as follow:
1. What are the imagery and figurative language described in poems Robert
Frost’s poems with the titles To Earthward and Wind and Window Flower?
And what are their meanings?
D. Significance of Study
This research is expected to increase the reader's knowledge about literary
particularly in poetry and to provide accurate information about the imagery and
the figurative language in the poems of Robert Frost.
E. Research Methodology
a. The Objective of Research
The purposes of this research is to know and understand kinds of imagery
and figurative language in two poems of the Robert Frost, To Earthward
(1923) and Wind and Window flower (1913) in order to understand the
poems.
6
b. Research Methods
In this research, the writer uses qualitative method with the analytic-
descriptive writing method. He analyses the unit analysis by using every
reference related to the study and then describe imagery and figurative
language contained in the poem.
c. Technique of Data Analysis
In this study, the writer uses a qualitative analysis technique. The analysis
is based on the methods and relevant theories or approaches. The writer
classifies several lines of the poems that have imagery and figurative
language and then the writer analyzes and explains them.
d. Instrument of the Research
The instrument of this research is the writer himself. The writer reads two
poems of Robert Frost and analyzes kinds of imagery and figurative language
of the poems.
e. Analysis Unit
The unit of analysis in this research is Robert Frost’s poems entitled: To
Earthward (taken from: Robert Frost, To Earthward Volume, published by
New Hampshire in 1923) and Wind and Window Flower (taken from: Robert
Frost, Wind and Window Flower, published by A boy’s will in 1913).
7
f. Time and Place Research
This research was conducted on 8th semester, 2010 in English letters
department, Adab and Humanities Faculty of State Islamic University Syarif
Hidayatullah Jakarta.
1
CHAPTER II
THEORETICAL FRAMEWORK
A. Imagery
According to Steven Croft and Hellen Cross, an image is a language use in
such a way as to help us to see, hear, feel, thing about or generally understand
more clearly or vividly what is being said or the impression that the writer wishes
to convey.1
Siswantoro explains that imagery can be meant as a mental picture, a
picture, portrait or picture illusion created as a result of a reader's reaction in
understanding the poem. Imagery emerges as a process to continue imagism
developing an active reader to find explicit meanings in the text. To find the
imagery, the readers must have good readings supported by the mastery of
vocabulary, grammar, and cultural aspects. The readers have to be aware that the
text is not our language, so we must adjust with enthusiasm the other text.
Because of that the readers will be able to understand imagery by having a good
participant with cognitive and emotional.2
Laurence Perrine and Thomas explain that the word ‘image’ perhaps most
often suggest a mental picture, something sense in the mind’s eye. Therefore
visual imagery is the kind of imagery that occurs most frequently in poetry. An
image also represents a sound (auditory imagery); a smell (olfactory imagery); a
taste (gustatory imagery); touch, such as hardness, softness, wetness, or heat and
1 Steven Croft and Hellen Cross, Literature, Criticism, and Style. (Oxford: Oxford University
Press, 2000), p.56 2 Siswantoro, Apreasi Puisi-Puisi Sastra. (Surkarta: Muhammadiyah University Press, 2002), p.49
8
2
cold (tactile imagery); an internal sensation, such as hunger, thirst, fatigue, or
nausea (organic imagery); or movement or tension in the muscles or joints
(kinesthetic imagery).3
Imagery usually calls a mental picture in a poem, where the readers can
experience what the poem says. Essentially the true “meaning” of a poem lies in
the total effect that it has upon the readers. Very often that effect stimulates a
response which is not just a reaction to what poet has to say, but which draws on
the readers’ intellectual and emotional experience. Imagery can be of central
importance in creating this response within the readers.4
The image function is: to provide a clear picture, to create a special
atmosphere, making life images and thoughts and senses and also to attract the
readers to poetry.5
B. Kinds of Imagery
1. Visual Imagery
Ahmad Badrun explains that visual imagery is an imagery which relates to
the visual imagination and it is a kind of imagery that appears mostly in the poem
because almost words represented in the poem are basically seeable. Sometimes,
that seen in the mind eye which called by sight effect. Without visual imagery, a
poem may hard to produce. For example:
Continuous as the stars that shine And twinkle on the Milky Way They stretched in never-ending line Along the margin of a bay
3 Laurence Perrine and Thomas R.A.P.P. op.cit, p.49 4Steven Croft and Hellen Cross, op.cit., p.56 5 Ahmad Badrun, Pengantar Ilmu Sastra, (Surabaya: Usaha Nasional, 2000), p.54
3
Then thousand saw I at glance Tossing their heads in sprightly dance
in our imagination, appear the daffodil stretches along line like the start that
shine on the Milky Way. The daffodils stretched in never ending line along the
margin of a bay.6
2. Auditory imagery
Auditory imagery is an imagery which relates to the auditory. This image
represents sounds like words “buzzing, tinkling, chiming” and others related to
the sound. This imagery is developed by the poet to make an auditory imaginative
in poem. The auditory imagery that evokes in poem is not like auditory
perception. It means, when the reader reads it, he only fell the sense of hearing but
not really hearing in purpose. For example:
Hear the sledges with the bells— With silver bell!
What a world of merriment their melody foretells! How they are tinkle, tinkle, tinkle,
The speaker invites us to hear the bells. The silver bells not iron or the copper
bells, it makes the bell more melodious, then the start follows the bell jingle. The
reader can feel strong sense of hearing in this poem.7
3. Tactile imagery
Tactile imagery is an imagery which relates to tactile sense such as cold
and warm. This imagery has relationship with the temperature like heat and cold
or our touch sense. For example: 6 Ibid., p. 52 7 Ibid., p. 53
4
A dungeon horrible, on all sides round, As one great furnace flamed
These two simple lines bring the reader to fell the heat of hell, which is described
like as dungeon. We will fell stuffy and tight, then all wall around the dungeon
feel like a great furnace flamed.8
4. Olfactory imagery
Olfactory imagery is an imagery which relates to olfactory or smelling
sense like ‘fragrant, unpleasant smell and the others related to the aroma. For
example in Robert Frost poem “Out Out”:
The buzz-saw snarled and rattled in the yard And made dust and dropped stove-length sticks of wood, Sweet-scented stuff when the breeze drew across it.
In the first line, the speaker invites the reader to hear the buzz-saw snarled which
is rattled in the yard. Then, in the second line, the readers will see the dust and
dropped stove-length sticks of wood. Finally, in line three this are made a sweet-
scented when the wind blew across it. Olfactory imagery appears in the third line,
and the first and the second line which were contained as a way to bring the reader
to feel smell sense in this poetry.9
5. Gustatory imagery
8 Ibid., p. 55 9 Ibid., p. 54
5
Gustatory imagery is an imagery which relates to the taste10 such as sweet
and briny and others related to the flavor. For example: She is as sweet as red
apple, the word “Apple” represent sweet taste to our imagination.
6. Organic imagery
Organic imagery is an imagery which relates to internal sensation of
human body such hunger, thirst, pain, etc. for example:
“O where have ye been, Lord randal, my son? “O where have ye been, my handsome young man?” “I here been to the wild wood; mother, make my bed soon, For I’m weary will hunting, and fain wald lie down”.
“Where gat ye your dinner, Lord randal, my son? Where gat your dinner, my handsome young man?” “I dined will my true-love; mother, make my bed soon, For I’m weary will hunting, and fain wald lie down”.
We can feel how weary Lord Randal is and how he wants to lie down! we
can feel it through the question asked by his mother to him such as in line “..O
where have ye been, Lord Randal, my son…” but the Lord Randal just say “..i
dined will my true love;, mother, make my bed soon, For I’m weary will hunting,
and fain wald lie down”. These lines describe how tired Lord Randal is! This
imagery that is built by speaker calls our imagination up to feel as same as the
speaker.11
7. kinesthetic imagery
Kinesthetic imagery conveys a sense of movement or tension in the muscles
or joints. In the ghost house could be studied how the poet describes the
10 Laurence Perrine and Thomas R.A.P.P. op.cit, p.49 11 Ahmad Badrun , op cit, p. 54
6
kinesthetic imagery. The statement …the black bats tumble and dart… impress us
about it sense of movement or tension in the muscle or joints.12
C. Figurative language
Figure of speech is the way to use language that says the power and
appeal, or both of them added.13 Figure of speech can increase or give the effects
and cause certain connotations. Figurative language causes poetry became
prismatic, its means that poetry will present a lot of meaning or rich in meaning.
Figurative also called figure of speech. Figurative language or figure of speech is
a word or group of words used to give particular emphasis on an idea or
sentiment. The special emphasis is typically accomplished by the user’s conscious
deviation from the strict literal sense of a word, on from the more commonly used
from of word order or sentence construction. “Figure of speech is any way of
saying something other than the ordinary way”14, so we can say more by these
figurative statement rather than literal statement. Figure of speech offers another
way of adding extra dimension to language. There are many kinds of Figure of
Speech:
a) Metaphor
According to Barnet a metaphor asserts the identity, without a connective
such as “like” or a verb such as “appears,” of a term that are literally
12 Ibid., p. 54 13 Jakob Sumardjo dan Saini K.M, Apreasi Kesusastraan. (Jakarta: Gramedia, 1986), p.127 14 Laurence Perrine and Thomas R.A.P.P, op.cit. p.61
7
incompatible.15 According to Perrine metaphor is a figure of speech in which
comparison is made between two things essentially unlike. The principle of
metaphor is to compare two things unlike but have same quality.16 Metaphor like
a simile that is to comparison, but in metaphor does not use “as” or “like” to
create the comparison. Often the metaphor actually describes the subject being the
thing to which it is compared.17 Those are some definition of metaphor. Those
definitions explain that metaphor is figure of speech that compare two different
things directly without use a connective word such as like, as, if, similar to, etc.
for example in “A red, red rose” poem by Robert Burns :
Oh, my love is a red, red rose.18
He was comparing the word (my love) to a red rose. He did not say, “Oh, my love
is like a red, red rose”, but stated the comparison directly: “oh, my love is a red,
red rose”.
b) Simile
Like a metaphor, simile also compares two different things, but it uses a
connective word. According to Perrine simile is a figure of speech used to
compare two different things. In a simile the comparison is expressed by use of
15 Barnet, Silvian, Berman, Morton, and burto, William., An Introduction to Literature, (United
States of America: 1961), p. 63 16 Sapardi Djoko Damono, Bilang Begini, Maksudnya Begitu, Buku Apresiasi Sastra, (Ciputat :
2010), p.56 17 Croft, Steven and Cross Hellen, loc. cit. p. 56 18 XJ Kennedy and Dana Gioia., An Introduction to Poetry Eleventh Edition. (Longman, Pearson.
2005), p.121
8
some word or phrase, such as like, as, than, similar to, resembles, or seem19. The
similar definition said that simile is figure of speech in which a comparison is
expressed by the specific use a word or phrase such as: like, as, than, seems or “as
if.” for example:
And life is too much like a pathless wood Where your face burns and tickles with the cobwebs Broken across it, and one eye is weeping From a twig’s having lashed across it open
(Frost, “Birches”)20
c) Personification
Personification comes from the Latin persona (of people, actors, actor) and
fie (create). That's why when we use personification; we use characteristic or
personal qualities of the object. Personification is a type of metaphor in which
distinct human qualities, e.g., honesty, emotion, volition, tec., are attributed to an
animal, object or idea. This definition similar to Perrine explanation, that
personification consists in giving the attribute of human being to an animal, an
object or a concept. It is a really a subtype of metaphor, an implied comparison in
which the figurative term of the comparison is always a human being.21
Personification occur when poet attribute an inanimate object or abstract idea with
human qualities or actions. For example, when Shakespeare asks, in a sonnet:
O! how shall summer’s honey breath hold out Against the wreckful siege of batt’ring days,
19 Laurence Perrine and Thomas R.A.P, loc.cit. p.61 20 Richard Ellemann and Robert O’clair, loc.cit. p.61 21 Laurence Perrine and Thomas R.A.P, op cit, p.64
9
How can a breath confront the battering ram of an invading army? But it is
summer’s breath and, by giving it to summer, Shakespeare makes the season a
man or woman.22
d) Hyperbole
Hyperbole is a figure of speech that is in intentional exaggeration for
emphasis or comic effect.23 According to Perrine, overstatement or hyperbole is a
simply exaggeration, but exaggeration in the service of truth.24According to
Kennedy, hyperbole or overstatement can be used also for humorous purposes.
For example in Robert Frost line:
One could do worse than be a swinger of birches
The conclusion of the poem that has suggested that to swing on a birch
tree is one of the most deeply satisfying activities in the world.25
e) Apostrophe
Apostrophe is a way of addressing someone or something invisible or not
ordinarily spoken to. In apostrophe, a poet may address an inanimate object, some
dead or absent person, an abstract thing, or a spirit. The poet uses apostrophe to
announce a lofty and serious tone.26According to Perrine, closely related to
personification is apostrophe, which consists in addressing someone absent or
22 XJ Kennedy and Dana Gioia., loc cit, p.128 23 Croft, Steven and Cross Hellen, loc cit, p. 57 24 Laurence Perrine and Thomas R.A.P, op.cit, p.101 25 XJ Kennedy and Dana Gioia., loc cit, p.130 26 Ibid., p. 129
10
something nonhuman as if that person or thing were present and alive and could
reply to what is being said. For example:27
Western wind, when wilt thou blow The small rain down can rain Christ! If my love were in my arms, And I in my bed again
f) Litotes
Litotes is opposite from hyperbole, is a figure of speech that contains a
statement that the small-reduce, reduced from the actual reality. Usually used to
servile. Litotes is kind of understatement where the speaker uses negative of a
word ironically, to mean the opposite. For example: She is not the friendliest
person I know. (It means that she is an unfriendly person).28
g) Irony
Irony has a meaning that extends beyond its use merely as a figure of
speech.29 There are three kind of irony: Verbal Irony is a figure of speech when an
expression used is the opposite of the thought in the speaker’s mind, thus
conveying a meaning that contradicts the literal definition. Dramatic irony is a
literary or theatrical device of having character utter words which the reader or
audience understands to have a different meaning, but of which the character
himself is unaware. in dramatic irony, the discrepancy is not between what the
speaker says and what the speaker means but between what the speaker says and 27 Laurence Perrine and Thomas R.A.P, loc cit, p.56 28Anonymous, litotes, http://usingenglish.com/glossary/litotes.html. p.1 ( Accessed on August 10th,
2010) 29 Laurence Perrine and Thomas R.A.P, loc cit, p.104
11
what the poem means. Irony of the situation is when a situation occurs which is
quite the reverse of what one might have expected. For example, when a character
says to another: "I'll love you until I die!"30
30 Ibid., p.104
1
CHAPTER III
RESEARCH FINDINGS
To make a better literary competence in this research, the writer uses the
descriptive analysis objective approach, to describe and analyze the intrinsic
element that was used by Robert Frost, in order to have a good understanding
about the meanings of the poems. This chapter discusses about kinds of imagery
and figurative language, their meanings, and the explanation of the kind of
imagery and figurative language that appears in Robert Frost’s To Earthward and
Wind and Window flower.
A. Data Description
1. The Poem of To Earthward
“To Earthward” is one of Robert Frost poems. This poem was published
in 1923. The poem consists of eight stanzas of four lines each. The poem splits in
the middle, temporally at least. The first four stanzas are about the past told about
what the speaker feel at the youth. The latter four stanzas are about the present,
what the speaker feels and believe "now".
The speakers described his experience with love, when he was young, all
things that were sweet: kisses, scents in the air (honeysuckle, musk and more), the
feel of a rose petal. Those sweet things were too much for him and make him like
lived on air. He was able to live off the scents in the air and gets the sense of a
young romantic intoxicated by the pretty, pleasant things of life.
19
2
"Now" are references to all about things that are salty in the poem that the
speakers feel. References to taste opposites (sweet vs. salty) are entirely
intentional, as the poet works uses all of his senses. He’s including smell, taste,
touch and sound as well. The speaker described when the happiness of love was
lost. He feels no jot like before and something lack salt to him. The salt of tears is
appears as the aftermath of having loved too much. The smell that he feels before
like the sweet smell of honeysuckle and musk now changed and felt like smell of
bitter bark and burnt cloves.
The speaker sits on the ground, his hand pressed flat to the earth, leaning
heavily on his arm, wrist flexed. When he stands, the pain and soreness he feels is
not enough for him; he wishes he could feel the roughness of the earth along the
full length of his body. Now, pain does not diminish his pleasure - and, in fact,
pain appears to contribute to his pleasure.
3
(1) Table list of Imageries found in “To Earthward”
No Phrases Stanza Line Words Types of imagery
1. Down hill at dusk 2 8 Dusk
2. The petal of the rose 4 15 Rose Visual Imagery
3. As sweet as I could bear; 1 2 Sweet
4. That crossed me from sweet things 2 5 Sweet
5. I craved strong sweets, but those 4 13 Sweets
6. Now no joy but lacks salt 5 17 Salt
7. The sweet of bitter bark 6 23 Sweet
Gustatory Imagery
8. The flow of -was it musk 2 6 Musk
9. from sprays of honeysuckle 3 10 Honeysuckle
10. And burning clove 6 24 Burning clove
Olfactory Imagery
11. That is not dashed with pain 5 18 Pain
12 The hurt is not enough 8 29 Hurt Organic Imagery
(II) Table list of figure of speech in “To Earthward”
No Sentence/ Statement Stanza Line Figure of speech
1. And once that seemed too
much;
I lived on air
1 3 - 4
2. To feel the earth as rough To all my length
8 31 - 32
Hyperbole
4
2. The Poem of Wind and Window Flower
“Wind and Window Flower” is one of Robert Frost poems. This poem was
published in 1913. The poem consists of seven stanzas of four lines each. Wind
and Window Flower is a story of a man who falls in love with a woman who is to
different from himself and has his heart broken when she will not return his love.
The speaker described to the Lovers, forget your love for an instance, and listen to
the love of these two people. The characters in the poem are a Winter Breeze and
a Window Flower. The man is the Winter Breeze. This man is a man who comes
and goes; you never know exactly when he is coming or when he is going. He has
a cold presence to him. The woman is the Window Flower. This woman is a
mature, pretty, and warm woman. She is in full bloom, which means she has
experienced love, and she is now ready for romance.
(II1) Table list of Imageries found in “Wind and Window Flower”
No Phrases Stanza Line Words Types of
imagery
1. She a window flower 1 3 Window
Flower
2. When the frosty window veil Was melted down at noon
2 5-6 Melted Down
3. And the caged yellow bird
2 7 Yellow
4. He marked her through 3 9 Pane
Visual Imagery
5
the pane
5. He was a winter wind, Concerned with ice and snow,
4 13-14 Ice and Snow
6. And the caged yellow bird Hung over her in tune,
2 7-8 Tune Auditory
Imagery
(IV) Table list of figure of speech in “Wind and Window Flower”
No Sentence/ Statement Stanza Lines Figure of speech
1 She a window flower 1 3
2 And he a winter wind 1 4
3 He was a winter wind, 4 13
4 And the caged yellow bird Hung over her in tune,
2 7-8
Metaphor
5 But he signed upon the sill 5 17
6 But the flower leaned aside 7 25 Personification
7 A hundred miles away 7 28 Hyperbole
6
B. The Analysis of Data
In analyzing the data, the writer analyzes imageries and figure of speech
which are found in several lines to understand the meanings of the poems. The
writer also will identify the words or phrases can build the imageries and figure of
speech in this poem.
1. Imagery in To Earthward
a) Visual imagery
The writer found the visual imagery in the second stanza, line 8:
The low of – was it musk From hidden grapevine springs, Down hill at dusk?
From the above phrases, the writer identifies those lines as a visual
imagery. The phrases “From hidden grapevine springs, Down hill at dusk?” is an
utterance which invites the readers to use their sight senses organ to understand
the speaker’s idea and it deals with visual imagery that recreates our mind’s eyes.
This line described about the flow of musk from hidden grapevine in the spring.
The next line, “down hill at dusk”, describes about when the flow of musk
happen. This line contains visual imagery because this line brings the readers to
see the image of the flow of musk that down hill at dusk.
From the two lines of visual imagery above, the writer finds the picture of
the flow of musk that down hill at dusk from hidden grapevine spring. In these
lines, Frost builds imagery by literal imagery. He uses daily words to shows what
he wants to tell us about the flow of musk.
7
In the fourth stanza, line 15:
The petal of the rose It was that stung
From the above phrase, the writer identifies those lines as a visual
imagery. The phrase” The petal of the rose” describes about how the petal of the
rose that was stung. The writer considers that the petal of the rose can be
classified into visual imagery. This line describes about something beautiful and
many people like a rose. This line also brings the readers to see the image petal of
the rose, although rose is known as a beautiful flower, but it has thorn that can
wound.
From the two lines of visual imagery above, the writer finds the picture of
the petal of the rose. In these lines, Frost builds imagery by literal imagery. He
uses daily words to shows what he wants to tell us about the petal of the rose.
b) Gustatory imagery
The speaker uses a gustatory imagery in the beginning of the poem when
the speaker tries to give the readers imagination about what the speaker feels. This
is stated in the first stanza, line 1-4:
Love at the lips was touch As sweet as I could bear; And once that seemed too much; I lived on air By using gustatory imagery, the speaker tries to bring the readers into the
speaker’s taste. The speaker uses word “Sweet” to give imagination what the
speaker could taste when the love was touched by the lips. This line contains
8
gustatory imagery that describes what the speaker feels at the first, when love was
touch at the lips, he could felt sweet too much and make him like lived on air.
This line brings the readers to imagine the taste of sweet that the speaker feels in
the poem.
From the lines of gustatory imagery above, the speaker awakens by tasting
of sweet when love at the lips was touch; Frost builds imagery by literal imagery.
He uses daily words to show what he felt in the poem.
The speaker also describes the gustatory imagery in this poem by making
some images about taste, as in the second stanza, line 5:
That crossed me from sweet things, The flow of - was it musk
From the above phrase, the writer analyzes them as gustatory imagery. The
word that shows a gustatory imagery in this line is represented by the word
‘sweet’, it means that our imagery is built by that word and the speaker guides the
readers to imagine what the speaker feels in this poem that is “sweet”.
In the fourth stanza line 13, the speaker also uses gustatory imagery to
describe about taste in this poem. The speaker feels strong sweet when he was
young:
I craved strong sweets, but those Seemed strong when I was young; From the above phrase, the writer analyzes this as gustatory imagery. The
word that shows a gustatory imagery in this line is represented by the word
9
‘sweet’ that means that the word guides the readers to imagine the taste of sweet
as the speaker feels in this poem.
The speaker also uses gustatory imagery in the fifth stanza, line 17 which
is also described about taste in this poem:
Now no joy but lacks salt
The above phrase impresses us about the taste of salt as the speaker feel
now no joy and lack salt to him. It can be classified into gustatory imagery. The
word that contains a gustatory imagery in this line is represented by the word
“salt’, which brings the readers to imagine of what the speaker feels in this poem.
Then, the speaker also uses gustatory imagery in the sixth stanzas, line 23:
The sweet of bitter bark And burning clove The phrase of “The sweet of bitter bark and burning clove” show the taste
of sense, these lines contain gustatory imagery that described about something
dislike, the speaker feels the taste sweet of bitter bark and burning clove. It
happens because love too much to his girlfriend. When he feels the pain, the
happiness is lost and he feels the sweet of bitter bark and burning clove.
c) Olfactory imagery
Olfactory imagery can also be seen in the poem in the second stanzas, line
six:
The flow of - was it musk from hidden grapevine spring
10
The above phrase shows that the speaker uses his smell sense to describe
the event that he caught and translated it to his smell sense. The word that shows
olfactory imagery in this line is represented by the word “musk”. This line
contains olfactory imagery that described about smell sense of musk. This line
brings the readers to smell the aroma of musk that flow from hidden grapevine
spring.
Furthermore, olfactory imagery is also found in the third stanzas, line 10:
I had the swirl and ache from sprays of honeysuckle The writer identifies that the above phrase is to describe the speaker’s
smell sense. The word that shows olfactory imagery in this line is represented by
the word “honeysuckle”. This line contains olfactory imagery that describes about
smell sense of honeysuckle. This line brings the readers to smell the aroma of the
spray of honeysuckle.
Finally, the writer also identified that the phrase “And burning clove”, in
the six stanza line 24 used by the speaker to described his smell sense. The
speaker invites the readers to feel the aroma of burning clove, so it can be
classified into olfactory imagery. This line contains olfactory imagery that
described about smell sense of burning clove. This line brings the readers to smell
the aroma of burning clove that produced unpleasant aroma.
11
d) Organic imagery
Organic imagery also can be found in Robert Frost’s poem To Earthward,
For example, in the fifth stanza, line 18:
Now no joy but lacks salt That is not dashed with pain The above phrase shows an organic imagery is represented by word
“pain”. That is called an organic imagery because it uses internal feeling or
internal sensation. The speaker invites the readers to imagine what he feels “now
no joy and lack salt fully with pain”. These lines contain organic imagery that
describes about the pain that the speaker feel in the poem. He feels no joy and
everything lacks salt. These lines show the pain of the speaker after he feels no
joy and lack salt to him. This imagery that is built by the speaker calls our
imagination to get his feeling.
Another organic imagery is in the eighth stanza, line 29:
The hurt is not enough: I long for weight and strength Based on the writer identification, the phrases above are classified into
organic imagery, because these phrases build up internal sensation. The word
which shows organic imagery is “hurt”. The speaker invites the readers to imagine
what he feels. He feels hurt but it is not enough. These lines describe the hurt of
the speaker after he feels no joy again and lack salt. This imagery that is built by
the speaker calls our imagination up to feel the speaker’s feeling.
12
2. Figurative language in To Earthward
a) Hyperbole
In the first stanza, the speaker use hyperbole to describe his feeling.
Love at the lips was touch
As sweet as I could bear And once that seemed too much; I lived on air
From the phrases above, the speaker exaggerates his feeling of love by
using the word “sweet” and “too much” and make him like “lived on air”. The
speaker uses hyperbole by the words “I lived on air”. In fact, the speaker lives on
the earth but his feeling makes him like ‘lived on air’. The writer argues that
hyperbole used to make an effect of exaggeration in the poem. This means he
feels sweet when love at the lips was touch, and once seemed too much for him,
and it makes him like lived on air.
In the last stanza, the speaker also uses hyperbole; by using the words “to
all my length”, as can be seen in the following stanza.
The hurt is not enough: I long for weight and strength To feel the earth as rough To all my length From the phrases above, the speaker exaggerated what the speaker feel
about the earth as rough to all his length. The words that show hyperbole are
represented by “to all my length”. In fact, the speaker feels hurt not to all his
length. The writer argues that the hyperbole is used to make an effect of
13
exaggeration in the poem. This line contains hyperbole that exaggerated that he
feels the earth as rough to all his length.
3. Imagery in Wind and Window Flower
a) Visual Imagery
The writer finds the visual imagery in the first stanza, in the third line from
Robert Frost’s Wind and Window Flower:
She a window flower
The phrase “she a window flower” describes about a woman (window
flower). The speaker invites the reader to see a window flower; the visual imagery
in this line is represented by the word “window flower”. This line brings the
readers to see the image of the window flower in the poem. This woman is
mature, pretty and warm woman.
The phrase above contains the visual imagery; in this case, the speaker
develops the visual imagery by using figurative language, metaphor. The speaker
makes a comparison between she and window flower. The readers can see the
image of window flower that described as a woman in this poem.
The visual imagery can also be found in the second stanza, line 5-6:
When the frosty window veil Was melted down at noon The above phrase shows that the speaker invites the readers to see about
the condition of the frosty window veil that was melted down at the noon. The
words that show visual imagery are ‘melted down’. These words guide the readers
to imagine that the frosty window veil that was melted down at noon. These lines
14
contain visual imagery that describe about how the frosty window veil was melted
down at the noon because affected by sunlight.
In the second stanza, line 7-8, Frost also uses visual imagery:
And the caged yellow bird Hung over her in tune, The visual imagery is described in this line by the word ‘yellow’, which
means that our imagination is built by that word. These lines contain visual
imagery that describes about the caged yellow bird hung over in her tune. These
lines bring the readers to see the image of the yellow bird hung over in her tune.
In the third stanza, line 9-10 Frost shows another visual imagery:
He marked her through the pane, He could not help but mark These lines contain visual imagery that described about the condition
when he (winter wind) come to window flower, but he just marked her through by
the pane and he could not help but just give a mark. These lines show visual
imagery by the word “pane”, which means that readers’ imagination are guided to
imagine he (winter wind) that gave a sign to window flower through the pane.
These lines bring the readers to see the image of winter wind when he can’t do
anything; he only can give a sign to her (window flower) through the pane. He
also can’t help her and just give a mark when he comes to window flower and
want to bring him outside.
The other visual imagery is in the fourth stanza, lines 13-14:
He was a winter wind, Concerned with ice and snow,
15
The lines contain visual imagery that described about a man (winter wind).
The speaker invites the reader to see a winter wind that concerned with ice and
snow. The visual imagery in this line is represented by the words “ice and snow”.
This line brings the readers to see the image of the winter wind that concerned
with ice and snow.
The phrase above contains the visual imagery; in this case, the speaker
develops the visual imagery by using figurative language metaphor. The speaker
makes a comparison between he and winter wind. The readers can see the image
of winter wind that described as a man in this poem that concerned with ice and
snow. The writer can conclude that the visual imagery in this line is developed
using metaphor in developing it.
b) Auditory Imagery
Auditory imagery also can be found in Wind and Window Flower in the
second stanza line 7-8:
And the caged yellow bird Hung over her in tune, From the phrases above, the word ‘tune’ shows auditory imagery which
means that our imagination of sound is built by that word. This line contains
auditory imagery that invites the readers to hear the sound of tune that produced
by the yellow bird that hung over in the caged.
16
4. Figurative language in Wind and Window Flower
a) Metaphor
In Wind and Window Flower poem, the speaker uses metaphor as in the
first stanza, line 3-4:
She a window flower And he a winter wind
From the above phrases, the speaker uses metaphor in comparing two
things: she and window flower and he and winter wind. The speaker describes a
window flower as a woman and winter wind as a man. These phrases described
about a couple of sweetheart and they are love each other.
In line 7 of the poem, the speaker also uses metaphor:
And the caged yellow bird Hung over her in tune From the above phrases, the speaker used metaphor in comparing two
things, the flower compared to a caged yellow bird. The metaphor gives the
readers a sense that the window flower feels trapped, and this condition is like the
yellow bird’s condition that hung over in the caged
b) Personification
The speaker personifies a winter breeze in the fifth stanzas in the first line:
But he sighed upon the sill
Here, the speaker gives an attributing human being. The word ‘he’ above
refers to Winter Breeze. The speaker describes the Winter Breeze sighed upon the
sill. The line that contains personification is represented by the phrase “But he
sighed upon the sill”.
17
Personification also appears in the last stanza in the first line:
But the flower leaned aside And thought of naught to say From the above phrase, the speaker gives an attribute of human being to
the flower. The speaker describes the flower leaned aside. The line that contains
personification is represented by the phrase “but the flower leaned aside”. Frost
uses personification by attributing the flower like a human being. Personification
is used to visualize the object (the flower) in human being. On the poem, Frost
gives attribute of human being to the flower as if it is human that could lean aside
and think about. The speaker describes about the flower leaned aside and thought
of naught to say.
c) Hyperbole
The writer also finds hyperbole in the last stanza. As we know, hyperbole
or overstatement is simply an exaggeration to get the greater effect.
And morning found the breeze A hundred miles away
From the above phrases, the speaker exaggerates that morning found the
breeze a hundred miles away. The words that contain hyperbole are represented
by “hundred miles”. In fact, it is impossible that morning found the breeze in a
hundred miles away. The writer argues that hyperbole uses to make an effect of
exaggeration in the poem. By giving this exaggeration, the speaker tries to
describe when the morning comes; the breeze leaves the window flower.
1
CHAPTER 1V
CONCLUSION AND SUGGESTION
A. CONCLUSION
To understand the poem in detail, the readers have to know the elements in
the poem, such as intrinsic elements. Some important elements in a poem are
imagery and figurative language. Imagery refers to the picture that we perceive
with our mind’s eyes, ears, nose, tongue, skin, and though we experience the
duplicate word created by poetic language. Imagery evokes the meaning and the
truth of human experiences not only in abstract term, as in philosophy, but also in
more perfectible and tangible forms. This is a device by which the poet makes his
meaning strong, clear and sure. The speaker uses sound word and word of color
and touch in strengthening figure of speech as well as to concrete detail that
appeal to the readers’ senses which are used to built up images.
Robert frost’s poems with the title To Earthward and Wind and Window
Flower contain the deep meaning. Imagery in each poem is the developed from
word of choice that are concrete and specific. The speaker uses imagery in his
poem in order to make the readers feel the author’s feeling in the poem.
The writer concludes that the imagery and figurative language in two
poems by Robert Frost describes every subject and activity in those poems. He
uses both literal and figurative imagery as a way in developing imagery.
2
There are only four imageries found in To Earthward from seven types of
imagery. They are visual imagery, auditory imagery, olfactory imagery, and
organic imagery. Robert frost also uses hyperbole as figurative language.
in Wind and Window Flower, Robert Frost uses a visual imagery and
auditory imagery as imagery. Robert frost also uses metaphor, personification and
hyperbole as figurative language in this poem.
B. SUGGESTIONS
Through this study, the writer suggests the readers who are interested in
studying about poetry, especially in Robert Frost’s poems, to study and
understand his poems from different aspects such as explication, theme, tone and
mood, rime, etc. This because there are many other ideas and messages that can be
explained in the poems.
Finally, the writer hopes this thesis can give a positive contribution for the
readers who want to know the poem and help the readers to have better
understanding of the poem in literature study, especially for the students of
English letters department, letters and humanity faculty, state Islamic university of
Jakarta.
3
BIBLIOGRAPHY
Barnet, Silvian, Berman, Morton, and Burto, William. An Introduction Literature, United States of America: 1961.
Damono, Sapardi Djoko, Susastra 5: Jurnal Ilmu Sastra dan Budaya .Depok:
Himpunan Sarjana-Kesusastraan indonesia, 2007.
Damono, Sapardi Djoko, Bilang Begini, Maksudnya Begitu, Buku Apresiasi Sastra, Ciputat: Editum, 2010.
Drs.Ahmad Badrun, Pengantar Ilmu Sastra, Surabaya: Usaha Nasional, 2000.
Farkhan, Muhammad, Penulisan karya ilmiah, Jakarta, Penerbit Cella, 2006.
Jakob Sumardjo dan Saini K.M.Apreasi Kesusastraan.Jakarta: Gramedia, 1986.
Kennedy, XJ and Gioia, Dana. An introduction to Poetry Eleventh Edition. Longman, Pearson. 2005.
Laurence Perrine and Thomas R.A.P.P, Sound And Sense: An Introduction to
Poetry Eight Edition.Orlando : Harcourt Brace College Publisher,1992. Richard Ellemann and Robert O’clair, Modern Poems,An Introduction to Poetry:
w.w.Norton and company,inc.1999.
Steven Croft and Hellen Cross, Literature, Criticism, and Style. Oxford: Oxford University Press, 2000.
Siswantoro, Apreasi Puisi-Puisi Sastra. Surkarta:Muhammadiyah University
Press, 2002. Ulysses ronquilo, Puisi, http://www.definisi dan unsur-unsurnya.htm, 2009.
(Accessed on September 20th, 2010) Annymous, Litotes, http://usingenglish.com/glossary/litotes.html, 2009. (Accessed
on August 10th, 2010) Anonymous, The Poetic of Robert Frost, http://www.frost
friend.org/figurative.html, 2004. (Accessed on September 20th, 2010) R.H. Winnick, Biography of Robert Frost, http://www.americanpoem.com.html,
2000. (Accessed on September 20th, 2010)
38
1
BIBLIOGRAPHY
Barnet, Silvian, Berman, Morton, and Burto, William. An Introduction Literature, United States of America: 1961.
Damono, Sapardi Djoko, Susastra 5: Jurnal Ilmu Sastra dan Budaya .Depok:
Himpunan Sarjana-Kesusastraan indonesia, 2007.
Damono, Sapardi Djoko, Bilang Begini, Maksudnya Begitu, Buku Apresiasi Sastra, Ciputat: Editum, 2010.
Drs.Ahmad Badrun, Pengantar Ilmu Sastra, Surabaya: Usaha Nasional, 2000.
Farkhan, Muhammad, Penulisan karya ilmiah, Jakarta, Penerbit Cella, 2006.
Jakob Sumardjo dan Saini K.M.Apreasi Kesusastraan.Jakarta: Gramedia, 1986.
Kennedy, XJ and Gioia, Dana. An introduction to Poetry Eleventh Edition. Longman, Pearson. 2005.
Laurence Perrine and Thomas R.A.P.P, Sound And Sense: An Introduction to
Poetry Eight Edition.Orlando : Harcourt Brace College Publisher,1992. Richard Ellemann and Robert O’clair, Modern Poems,An Introduction to Poetry:
w.w.Norton and company,inc.1999.
Steven Croft and Hellen Cross, Literature, Criticism, and Style. Oxford: Oxford University Press, 2000.
Siswantoro, Apreasi Puisi-Puisi Sastra. Surkarta:Muhammadiyah University
Press, 2002. Ulysses ronquilo, Puisi, http://www.definisi dan unsur-unsurnya.htm, 2009.
(Accessed on September 20th, 2010) Annymous, Litotes, http://usingenglish.com/glossary/litotes.html, 2009. (Accessed
on August 10th, 2010) Anonymous, The Poetic of Robert Frost, http://www.frost
friend.org/figurative.html, 2004. (Accessed on September 20th, 2010) R.H. Winnick, Biography of Robert Frost, http://www.americanpoem.com.html,
2000. (Accessed on September 20th, 2010)
1
APPENDIX
To Earthward By Robert Frost
Love at the lips was touch As sweet as I could bear; And once that seemed too much; I lived on air That crossed me from sweet things, The flow of - was it musk From hidden grapevine springs Down hill at dusk? I had the swirl and ache from sprays of honeysuckle That when they're gathered shake Dew on the knuckle. I craved strong sweets, but those Seemed strong when I was young; The petal of the rose It was that stung. Now no joy but lacks salt That is not dashed with pain And weariness and fault; I crave the stain Of tears, the aftermark Of almost too much love, The sweet of bitter bark And burning clove. When stiff and sore and scarred I take away my hand From leaning on it hard In grass and sand, The hurt is not enough: I long for weight and strength To feel the earth as rough To all my length.
Wind and Window Flower By Robert Frost
Lovers, forget your love, And list to the love of these, She a window flower, And he a winter breeze. When the frosty window veil Was melted down at noon, And the caged yellow bird Hung over her in tune, He marked her through the pane, He could not help but mark, And only passed her by To come again at dark. He was a winter wind, Concerned with ice and snow, Dead weeds and unmated birds, And little of love could know. But he sighed upon the sill, He gave the sash a shake, As witness all within Who lay that night awake. Perchance he half prevailed To win her for the flight From the firelit looking-glass And warm stove-window light. But the flower leaned aside And thought of naught to say, And morning found the breeze A hundred miles away.
