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Poetic Dia.i,ogues in Shakespeare's Macbeth
A ScriptSubmitted ill partial fulfillment ofthe requirements
for the degree of Smjana Sastra
Written by:Prastyo
29926000197
Syarif HidayatullahState Islamic University of JalUll'lll
Faculty of Adab aud HumanitiesDepartment of English Letters
2005
Poetic Dialogues in ShaI,espearets Macbeth
A ScriptSubmitted in partial fulfillment ofthe requirements
1'01' the degree of Sarjana Sastra
Written by:PI'usiY..Q
29926000197
Approved by:, Advisor, /'
l""~Pd"M.M132233516
Syarif Hid aya tullahState Islamic l:Jniversity of Jakarta
Famlty of Allah and HwnanitiesDepartment of English Letters
2005
LEGALIZATION OF EXAMINING COMMn"l'EI1;
A script entitled "Poetic Dialogues in Shakespeare's Macbeth" has
examined before the Exami:ling Conunittee held by Department of English Letters
Faculty of Ad"b and Humanities Syarif Hidayatullah State 1sl"mic University of
J"kat1a on November 17, 2005.
Tlus script has accepted as a partial fulfillment of the requirements required
felr the degree of Smjana Sas!ra.
J"karta, November 17, 2005
EXAlVIlN1NG COl\1MITTEE
CHmF EXAMINlm
Elve Oktaviyani, S.S150317725
ABSTRACT
PRASTYOPOETIC DIALOGUES IN
SHAKESPEARE'S MACBETH
Prastyo. Poetic Dia'ogues in Shakespeare's Macbeth (below advisory of DantiPudjiati, S. I'd, M. M).
This script is about portrait of one of poetic aspects that can be cligged inMa';beth, a play written by V,Tilliam Shakespeare around 1606. The research focus;din devices of sound, in this case rhyme, alliteration, aud assonance those found in thetexts of the play uttered by SJme leading characters. The main characters analyzed inthis research arc Macbeth, Lady Macbeth, King Duncan, Malcolm, Banquo, Macduft~
"nd Three Witches. By scanning the texts depicted by some main characters, threekinds of sound patteming m"ntioned above described by using the ,ools provided bylinguistics. The tool that uoell in this research is phonetics, a branch of linguistics thatconeems with speech sounds, their production and their transcription in mitten text.The texts those have land of sound patterning analyzed and described one by one atwhat act, what scene, ,md whitt line thcy occur.
Benefits of the reseal eh beside to describe kinds of sound patteming used byShakespeare in his leading characters' dialogues also to lmow the functions of themin drama. Among the functions of sound patterning in tlus research are to adding theenjoyment of poetry in the play.
From the research, it can be concluded that Macbeth as a tragedy has a greatpassage of verses uttered by iJs leading characters. These verses present a number ofsound patterning. Even tl10ugh another leacling characters have a presentation ofdevices of sound in their speaks, it seems that Shakespeare gave much more soundpattenung to tile central figure in this phly, Macbeth.
,\CKNOWLEDGMENT
I would like to expr,:,:;s my gratitude to Allah SWT by saying alhamdulillahi
rab al amino Finally, I can finish my script with its plus and minus aner a long time.
Shalawat and 3alam only for I lis last prophet: rv!uhammad SAW.
For my selt; the fmis'l of this script, remembering to many people who help
me material and immaterial s;ncerely without hoping anything. For that .. ", I my self,
limn the deepest side of my heart, really would like to say thank 00 mueh to them.
Number of people those mentioned below have great part in my heart:
1. Prof. Dr. H. Badri '{atim, dean of Faculty of Adab and Humanities, Dr.
Muhammad Farkhan, M. Pd, head of Department of English Letters,
Nurhasan, M. Ag, secretary of Department of English Letters, and alllectures
and staff:s of Department of English Letters Faculty of Adab and Humanities.
2. JV!y advisor, Danti Pudjiati, S. Pd, 111. M. 1 knew that I have bothered you so
long. Your al;undant kindness and patience and helpful advises a:ld
suggestions dudng the process of writing, no doubtful about that.
3. Examining Committee, Dr. Muhmnmad Farkhan, M. Pd and Elve Oktaviyani,
S. S, thank a lot for the time to re<ld my script <lnd correct so many nnproper
things Ii-om it.
4. M~' mother, my wife, my brothers, and sisters who always enconrage and
support me finish my script, I really indebted. I love you all.
5. :\11 stalIs of [vlain Libr.u"j' of UlN Jakarta, Library of Faculty of Adab and
Humanities, Library of I'm 01 Depok, Library of British Council, Library of
PIlIl Onika Atma 1<.ya where I g,ain so many advantag,es of kind assistance
[i'om them.
6. [vfy fi-iends in Ciputlll: Holi!, Supardi, Zarkom, and all fi'om BS1 and BSA
·1999. Also my 11iendq who work in Wisma 1ndoccmcl1t.
7. So Illany people: those cannot write in this p'lpcr but only in Illy heart I always
rcnlGmbcr about thelll.
1 rcally hope hom a>ly one who read this sclipt will take somc advantag,es
even thoug,h this sClipt is not '~xccllent enoug:h.
Jakarta, November 2005
The wriler
TABLE OF CONTENTS
TITLE .
AI'l'ROVAL SHEET II
LEGALIZATION OF EXAMINING COMMITTEE iii
ABSTRACT IV
ACKNOWLEDGMENT V
TABLE OF CONTENTS...................................................................... vii
CHAPTER I INTRODlJCTlON .
A. Bacl,ground of the Study ..
B. Identification of tb~ Problem 4
C. Statement of the l'l'oblem 5
D. Scope and Limitation 5
E. Benefit of the Research 6
F. Method of the Resclu'ch 7
G. Organization of the Paper 8
CHAPTER II THEOREnCAL REVIEW........................................ 9
A. Phonetics 9
B. Consonant and Vowel........................................................... 10
C. Phonetic Notation 13
D. Poetry IS
I. Rhythm and meter IS
2. Sounds 15
3. Imagcly 15
4. Figurative language 15
Eo Drama 16
1. Plot \6
2. Characters 17
3. Thought or theme 17
G. Kind of Sound Pattcming 17
1. Rhyme (or rime) 17
2. Alliteration 18
3. Assonance 19
CHAPTER III RESULT Of THE RESEARCH 20
A. Introduction 20
B. Result of the Rcscarch 20
1. Macbeth .. 20
2. Lady Macbeth 25
3. Duncan 26
4. Malcolm 27
5. Macduff 27
6. Banquo 28
7. First Witch 28
8. Second Witch 30
9. Third Witch 31
10. All 12
C. Table of Kinds of Sounds Patterning 35
D. Discllsdon 45
I. Rhyme 46
2. Alliteration 49
3. Assonance 50
CHAI'TER IV CONCLUSWN AND SUGGESTIONS 53
A. Conclusion 53
B. Suggestions 54
BIBLIOGRAPHY 56
CllJU'TER 1
iNTRODUCTION
A. Background of the Study
in English literature, we know that one of the most outstanding characters lhat
are given much more approciation from the others is William Shakespeare. We
obviously know him as a dramatist and an actor, beside that he is also a poet.
Shakespeare's plays and poems are still performed and read all over the world even
though they were written l:ctwcen sixteenth until scventeenth centuries. Until now,
each lines of his plays and poems arc still being analyzed by many students and
edtics. His works not only ;01' British, TIlrther more for all races, all places and all
time. The world has judged him as the greatest dramatist and poet ever lived. Why?
The answer is, quite simply, the fact that he wrote so much better than anyone else
was.
DUling his career, Shtkespeare wrote at least thil1y-eight plays, most of them
are great. So many themes reflect through stodes presented in these plays.
Shakespearean Drama usmlly divided into three categories, they arc tragedy,
comedy, and history plays. IJeside that, Shakespeare wrote two long narrative poems,
Venus and Adonis and The Nape o/Lucrece. He also composed a sequence of 154
sonnets and a short poem called The Phoenix and the Turtle.
Tlu'ough out his amazing literary works, Shakespeare changed words,
invcnted words, an:! borrowed words from other languages. The language of
Shakespeare's literary works are full of brilliaut imageries and he reinfm'eed the
imageJies with the rhytlun and sounds of his verse.
Talking about literatnre, there is a tenn called geme. Generally speaking,
genre means a kind, type, or class of literature. The main generic division today is
into poetty, drama and the prose, but in earlier tin1es the major gemes were
recognized as epic, tragedy, lyric, comedy, and satire. 1
What is poetly? Poetly is a kind of literature in which tlle sound and meaning
of language ilre combined to create ideas and feelings,2 Drama is an art that tells a
story through the speech al'll actions of the characters in the StOlY. Most drama is
perfonned by actors who impersonate the characters before an audience in the
theater. 3
So, what the relatio.~\ship between the two genres of literature mentioned
above connecting with Willi:ill1 Shakespe:lre? William Shakespeare (1564-1616) and
his fellow contemporaJies scch as Cluistopher Marlowe, Bel1jamin Jonson, Francis
Beaumont and John Fletcher in the sixteenth and seventeenth centuries mainly
prefelTed wrote their plays in 'blank verse'. This term is usually refelTed to poelly. It
means unrhymed poetl)', ]wt a velY discipline verse forms in that each line h an
i,lmbie pentameter (a ten-s) Ilable line with five stresses)." The word iambic IS a
Greek word describing the pattern of stresses, or emphasis, in the line, and
I Jolm Peek and Marlin Coylc,Li,e"wy Terms anI! Criticism, (London: Macmillan, 1993), p.""Poelry", 11," World BookSncydopel!ia, (Chicago: World Book, Inc, 1985), Vo14, p. 5273 "Drama", Ibid, p. 268,I John Peck and Martin Coyle, Op. Cit, p. 22
pentameler is a Latin word which mCilns there are five pairs of stresses to each line. 5
Shakespeare used both rhyming and unrhymed iambie pentameter in his plays.
Shakespeare wrote chiefly in verse, and always used verse for the more
sedous, important speeches, in which more fOlmallanguage was required. He did use
prose, but mostly for more everyday conversations, and particularly for lower-class
characters. 6
In this writing, tlle writer wants to discuss about some clements of poelIy used
by Shakespeare in Macbetll, a play that is considered as one of Shakespeare's four
great tragedies beside' Halnlet, Othello, and King Lear. The tragedy of Macbeth
probably was wdlten Jrouncl 1606. Shakespeare took the source fer Macbeth from
Raphael Holinshcd's Chrollldes of England, Scotland and Ireland (2nd Ed, ISS7),
whose account of Scotland [:erived from The Latin Seotarum Hisloriae (Pads, 1527)
of Hector Boece.7 Macbeth is a tragedy of a Scottish nobleman who kills King
Duncan, the king of Scotland after he heard The Weird Sisters prophecies. Soon after
that he becomes king himself. At the end of the play, Lord Macduff kills Macbeth and
the throne is given back to the real heir of the realm, Malcolm, Duncan's eldest s )n.
In tlus play, Shakesreare used the most dazzling poetry he ever wro'ce. He
composed thc lincs in whicIl the sound and mcaning of language are combined to
create ideas and feelings. Easily found in the play's texts some elements usually used
5 Rani Jay, Shake'Teare: A Begirl'ter's Guide, (London: Hodder and Stoughton Educational, 2000), p.22, Ibid.
7Charles Boyce, Encyclopedia a/Shakespeare A-Z 0/His Life and Works, (New York: A RoundtablePress Book, 1990), p, 392-3
by a poet to construct poetc:! such as line arrangement, rhyme, rhythm, and diflerent
kinds of sound patterning. The play consists many imageries and figurative languages
in its characters' dialot,'U~. I-k algo showed us how the linea in the play may appear in
many different forms.
Some comments about how licItly created Macbeth's composition of poetry is
given here. The poetry was so subtly shaded that a choice of meanings, sometimes
dramatically opposed, was haiIDonized in almost every line. 8 In Oxford School
Shakespeare Macbeth edited by Roma Gill, the illustration is like this: "... the play
has great power as a work (jf poeliy and imagination. The language is dch in sound
and meaning, full of picture~ and immensely vmied. ,,9 Furthenl1ore, I-larry Blamires
says: "Nothing more clearly illustrates the Shakespearean blend of act and symbol
than the lich web ofimagely <lfwhich the poetry of Macbeth is fashioned."l0
Several brief explanations above become reasons to tile Wliter to analyze more
deeply the elements of poetr;/ in the texts employed by Shak.ospeare in Macbeth. The
title that the wliter chooses for this thesis is "Poetic Dialogues in Shakesp~are's
JVlac b(·th. "
B. ldel1tilicatioll of the Problem
Related to the background above, there arc many problems may be appear:
1. Why did Shakespear~ write his play in blank verse?
S Gordon William. Macbeth: Text a,ldPel!ormance, (London: Macmillan PubLsher, Ltd, 1985), p. 41, Roma Gill (ed), Oiford School Shakespeare Macbeth, (Oxford: Oxford Universily Press, 1977), p. vi10 Harry B1amires,A Short HistOly a/English Literature, (London: Routledge, 1984),2"' Ed, p.57
2. How did he group the lines into stanza?
3. How many lines did he usually arrmge?
4. How many syllables usually contain in the line?
5. How did he write his poetic aspect in his dmma?
6. What are poetic element and sound patterning in Shakespearean Drama?
C. Statcment of the Problcr.l
When analyze the texts of drama wlitten mainly by Shakespeare and his
companion contemporarics, in one hand, the texts can be approached by conct'ntrale
to some elements of drama wch as plot, theme, chamcters and their language, setting,
staging and so forth. In the other hand, because Shakespeare wrote his characters'
dialogue in rhyming lines atld have repeating rhythms or give a pictures of other
distinct poetic elements recognizably found in poetry, at that time the process of
analyzing poetly occurs there
Based on the statement above, the wliter in this research wants to focus in
exploration of poetic aspect in the matter of sound pattcming or devices of nound in
lVlacbdh, onc of the tragedies wlitten by Shakespeare. What arc poetic clement and
sound patteming usually found in Shakespearean Drama?
D. Scopc and Limitation
In order to prevent unimportant discussion, the writer focuses tIus analysis in
the matter of sound patternJlIg in the texts' play uttered by some of leading characters
in Shakespeare's Macbeth. Kinds of sound patterning will b<: examined in this context
are rhyme, alliteration and aswnance.
The main c!la"acte,rr analyzed m the play are JvIacbeth, Lady Macbeth,
Duncan, Malcolm, Donalbiliil, Banquo, Milcduff, Lady Macduff, the Porter anc: the
Witches as mentioned in lviacbeth William Shakespeare Complete School Ldition
edited by Roderick Wilnon that b ,comes source boo.~ to the wIiter in analyze the texts
of Macbeth. Those names are chosen as leading characters bccause they have large
part and significant role in the play. Interaction amongst them: actions intensifY,
compliciltions develop, conf1iGts emerge, suspenses build malw the play alive.
E. Benefit of the Research
This research has several benefits, they are:
1. To descIibe sound patterning: rhyme, alliteration, and assonance in the
dialogue of main characters in Shakespeare's Macbeth.
2. To know what are the function of the use of these souml palteming in drama,
especially in Maebctil.
3. Through tlus research the writer as a student of English Literature expects to
have a larger and bIOader knowledge about the richness of Shakespearean
Drama but also about the life of Shakespeare and to appreciate and to promote
them.
4. To give a reference to anyone who wants to make a furtller research related to
this research.
F. 1\1ethod of the Research
The method used by the writer in this research is descriptive method. All data
sourc~s those related to the topic taken ii-om several libraJies in fonn of books,
dictionaJies, and encyclope(lias collected, identified, evaluated. After analyze those
data the wJiter hies to mak0 a clear and accurate descJiption from those facts counted
above related to the topic being researched until bring the writ'or to conclusion.
The technique of this research can be described as follow. Firstly, watching
the play in fOlm of video performing provided by Library of BJitish COIillcil and
reading its texts ,everal time' until the writer grasps what shonld be taken as a topic
of research. Secondly, choo~i'1g the title of this research and making a design of this
research. Thirdly, scanninr-, the data in this case play's texts ultered by main
characters those hav" a prescntation of sound palteming: rhyme, alliteration, and
asconance. After tllcse raw material collected, the Ivriter analy7jng all dat1 found
refers to thc research object by cxamine utterances of charactcrs one by one at where
arc they found: act what, sc~ne what, and line what. After that, the writer describes
:hcir sound patterning and phonetic notation until the writer comes to the result of the
research. Finally, all these waf bring the writer to the conclusion.
The writer uses PedQman Penulisan Skripsi, Tesis, dan Disertasi published
by UrN Jakarta Press 2002 as reference of script writing.
G. Organization of the Paper
Tlus paper divided inio five chapters:
I. Chapter One
This chapter IS an outline of general auns of the script. It consists of
background of the study, identification of the problem, statement of the
problem, scope and limitation, benefit of the research, method of the research
and organ;zation of the paper.
2. Chapter Two
It is an account of Sf,me tlleories and defmitions of tellliS those are used in tlus
research. The:' are definitions of phonetics, consonant, vowel, classification of
consonant and vowel, phonetic notation, poctly, drama, and kinds of sound
patteming in poetly: r:1)'111e, alliteration, and assonance.
3. Chapter Three
It is a result of research trom Shakespeare's Macbeth that focused in some
play's texts elements those considered as elements of poe!ly especially kinds
of sound patteming. The writer also makes a table about sound patteming in
order to make the result of the research easier to understand.
4. CIHlpter Four
This fmal chapter is c'onclusion about research and suggestions related to this
research.
CHAPTER II
'rrmORETICAL REVIEW
A. Phonetics
In order to analyze c:evices of sound in ~vlacbcth linguistically, the writer will
;ook at phonetics. Phonetics is the branch of linguistics which has as its aim the
dcsetiption and classification of speech sounds. Phonelics divided into three sections:
ar' 7tOl)' phonetics that focuses in the way sounds ,Ire articulated, acoustic
phonetics, which studies physical propeliics of speech sounds as sound waves, and
auditOl)' phonetics, which approaches the study of sounds fi'om the perspective of the
hearer (also known as perceptual phonetics). 11 In this research the focus is in the
articulatory phonetics.
Human speech is pro,luced by organs of speech. In articulatory phonetics, the
firs: thing must be dealt with is the organs of spcech. Among the organs of speech
involved in speech sounds &re: lung, trachea, larynx, vocal cord, cricoid, thyroid,
arythenoid, wall of phalynJ:, epiglottis, rool of the tongue, back of the tongue or
dorsum, middle of the tong'.le or medium, blade of the tongue or laminum, tip of the
tongue or apex, uvula, soft p,date or velum, hard palate or palatum, alveolum, upper
J1 Jormne Kemvortlly, Language in Action: All IntroductioN to lv/oelern Linguistics, (New York·.Longman, Inc, 199t), p. 33
teeth or den tum, lower teeth or den tum, upper lip or labium, lower lip or labium,
111outh, oral cavity, and nasll cavity.'2
C. Consonant and Vowel
Broadly speaking, consonants are sound you make by blocking thc flow of air
fi'mn your lungs with a c1osv.re somewhere in your mouth or throat (e. g. when you
say m your lips are c1o~ed; when you say t, your tongue touches the roof of your
mouth).
The articulation of any consonants my be summed up in a three-telm label
whose pmts specify (a) st·ltc of glottis (b) articulators involved, that is place of
articulation and (c) manner of articulation.
The state of glottis is described as VOiced, voiceless, whispered, breathy-
lJvOiced or creaky-voiced as neeessalY.
The place of articu!<ltion is indicated by an adjective ill most cases delived
ii'onl thc Latin name of the ariiculators:
I. Bilabial: both lips, e. g. the initial sound of bait;
l.abiodental: lower lip and upper teeth, e. g. tl,e initial sound of/ate;
3. Dental: tip or blade oJ'tongue and back of uppcr teeth, e. g. the initial sound of
those;
12 Abdul Chaer,Linguislik Umum, (Jakarta: Rineka Clpta, 2003), 3'd Ed, p. t0513 J. ivI. Y. Simpson, A Firs/ COl/rse' in Linguistics, (Edinburgh: Edinbmgh University Press, J979), p.52
4. Alveolar: tip or blade: of tongue and alveolar ddgc, e. g. the initial sounds of
toe, so and low ia many accents of English;
5. Post-alveolar: tip of tongue and border of alveolar ridge and palate, e. g. the
initial sound of tl));
6. Palatal: fi'ont of tongue and palate, e. g. the initial sound ofyes;
7. Retroflex: tip of tongue (curled back so that it points almost vertically) and
palate, e. g. the Englii\h West Country and some Amelican pronunciations of -
er in butter;
8. Velar: back of tongue and velum, e. g. the initial sound of cat;
9. Uvular: back oC tonglle and uvula, e. g. the common pronunciation of French r
as in rouge or quatre;
! O. Phmyngal: rOOt of the tongue and phmynx; such sounds, produces with
strictures of close or open approximation, are found in certain Semitic
languages, e. g. Arabic:. 14
The manner of articulation is indicated by the third tenu, which specifies the
degree of stricture and also, on occasion, other infonuation. The following is the list:
I. A stop is made with a stdcture of complete closure and with velic closure.
2. A stop released by a pulmonic egTcssive airstream is a plosive: the voiced
bilabial plosive [b] in I'e.
-_..._------_._--14 Ibid
3. A nasal is made with a stricture of complcte closurt~ and with velic opening;
for evelY plosive th0re is a cOlTesponding nasal: to [b] con'esponds the voiced
bihlbial nasal [m].
4. A trill or roll is made with intermittent closure allel11ating with open
approximation, for e:[ample the above mentioned noises of stage 'Scotsmen'
(voiced alveolar trill [I'D and French cabaret singers (voiceo uvular tlill [RD.
5. A fricative is mad~ with close approximation: the voiceless labiodental
fricative if] infee.
6. An approximant IS made with open approximation: the voiced palatal
approximant [j] in you.
7. A lateral is made with central closure but lateral open approximation; if the
tongue is involved, p,lrt of thc central lengthwise portion of its surface makes
complete closure with the roof of the mouth, and ou side of the tongue is
lowered (or both sides may be) to fOl111 a stricture of open approximation,
allowing the airstream to escape laterally without audible friction; such sound
is the voiced alveolar lateral [I] in laugh.
8. A tap is a ballistic movement, equivalent to 'one strike of a trill'; for example,
a voiced alveolar tap [I'] is made by flicking the tongue at the alveolar ridge,
forming momentary c'Jmplete closure.
9. A more ambitious b'lllistic movement is responsible for a flap. A voiced
retroflex flap IS made by plaeing the tongue In position for a retroflex
approximant, then 'Happing' the tongue on to the floor of the mouth so that it
shikes the alveolar ridge in passing. 15
Vowels are sounds 1lI1de without any closure- you alter the shape of yonr lips
and change the position of yeur tongue to make the sound 00 and ee, but you do not
block the air coming out ofycJUr mouth. 16
In vowel sound production, there are three valiables involve; these are the
posture of the lips, and the position and the shape of the tongue. ~t can be summed up
as follows:
1. Lips (i) rounded as in ,?oose and geese (ii) unrollnded as in geese.
2. Vel1ical axis (i) close as in goose and geese (ii) half~close as in most Scots
English ray and rope (iii) half-open as in get and thought (iv) open as in halve
and crass.
3. HOlizontal axis (i) front as in see, get, crass and Scots English ray (li) central
as in RP learn and Scots glide (iii) back as in pool, bud, RP halve and Swts
English rope. 17
D. Phonetic Notation
Such a group of su:mds constitutes a phoneme of the language, ,md the
individual sounds in the grO!lp arc the allophones of that phoneme. Phonemes are
" Ibid, p. 52-416 Joanna ThombombOlTow,Patlern in Language: An Ill1rodUCliotl to Language andLiterary Style,(London: Routledge, 1998), p. 2017 Gp. Cit, p. 55-6
abstractions or elements of fOem since each is the result of grouping concrete sounds,
and they are unpronounceable, for it is impossible to pronounce a group of sounds
. I I 18SUIlU taneous y .
Allophones are prono'lIlceable in the sense that any single speech-sound is an
allophone of some phonem~, they are elements of substance, the exponents or
realizations of abstract phoniJme. Phonemes appear between slash bracket / /, and
conventionally represented by IFA symbols. 19
In order to analyze and dCSClibc sounds accurately, a systcm has been
developed which is quite independent of the spelling system. TIlls is clilled phonemic
notation (or sometimes phonetic notation, a more detailed version); tillS is the system
used in dictionalies to indicate how a word is usually pronounced. The phonetic
not',llion that now regarded DS the standard method of phonetic notation is the IFA
(Tntemational Phonetic Alphabet). TIlls alphabet was developed from the late 1880s
onwards by a group of language teachers and phoneticians in Western and Northern
Europe called the IFA (Intemational Phonetie Association). The use of squar~
brackets [ ] indicates a phonetic transcription.2o In tillS research 11m wIiter take The
Random House College Dir.tionalY published by Random House, Inc in New York
1975 as reference guide dictio:laIy for pronunciation.
IS Ibid, p. 68" Ibid, p. 6920 N. E. Collinge (ed), An Encyclapmdia a/Langaage, (New Yark: Routledge, 1990), p.l 0
K Poetry
Poetry has two basic types: narrative and lyric. A nan'ative poem is a poem
that tells a story: the main kinds are epic, ballad, and romance. A lyric is a poem in
which the poet offers a direc, response to some aspect of experience, for example the
death of a friend.~l Today, lyric poem means any short poem. Different types of lyric
poem are: haiku, ode, elegy, wnnet, limerick, randel, l1iolet, and villanelle.
Poetry has several e1('1I1ents, they are:
I. Rhythm and Eletel'. Ii hytlun in poelly mcans thc flow or movcmcnt of sound
in a line produced by language, whether it goes fast or slow, is ;alm or
troubled.22 Meter means the pattem of stressed and unstressed syllables ir, a
I· f' ?3me 0 poeby.-
2. Sounds. Poels oftcn use thc sounds of words to creat,; elTccts in their pocms.
The most conUl1on type of sounds are: rhyme or rime, alliteration, assonance,
and onomatopoeia.
3. Imagery. This teml rei'ers to tile sensations that language creates in the mind.
4. Figurative language. Poets usually usc words and languages not in the literal
sense but in an im<l,!,inative way. Several kinds of tigurative language are:
simile, metaphor, personification, apostrophe, hyperbole, antithesis,
synecdoche, paradox, and symbol.
2! John Peck and Marlin Coyle, Cp Cit., p. 142! Ihid., p. DO2:; ThiA n Ltf\
F. Drama
What m'lke drama identified as a unique f(Jrln of literature? Unlike from two
genres of literature: poehy dad novel, drama has a distinctive appeanmce of a script,
with its stage directions, character parts, divisions into acts and scenes, and to be
pcrfonned in front of spectators in a stage by actors who take on the roles of the
characters through dialogue a'ld actions.
Thcre are two mOSl common dramatic fonns: tragedy and comedy. Many
plays comhine more than one form. In the simplest delinition, tragedy is ,I play that
ends with the death of the main character.24
Tragedy raises impnr(ant questions ahout the meaning of existence, morality,
and social or psychclogical relationship. Aristotle identified the emotional effect of
tragedy as "the arousal of pity and fear,,25
Comedy is based on some exaggerated or eccentric OCCUITence or behavior.
Comedy can be both critical and playful, and it tlies to arouse responses range
. I . "6lletwecn scom ane .loy.·
Dramatist builds Ii play in the longer divisions called acts, and acts are
somctimcs {\irther divided into scenes. Beside that, there are some clements of drama
those make the play 'lttractivc.
I. Plot. Plotmcans a summmy of a play's StOly.27 Thc structure of the plot can be
summed up as fclbw: a play bcgins with exposition, which presents
,.j John Peck and Marlin Coy'e, 01' CiI., p. 99""Drama", The World Book Encyc'opedia, (Chicago: World Book, tnc, 1985), Vol 5, p. 269" Ibid
characters and setting and introduces the basic situation. Then, duling the
raising action, the action builds in intensity. The raising action culminates in a
climax, the plot's tension pe'lk. Finally, during the falling action, the intensity
subsides that is callee' a resolution or denouenemenl.
2. Charactcrs. How a character acts and how she or he reacts to other characters
or to particular events- conveys the characters values and attitudes. Incidents
develop tlu'ough tht' :,peech, behavior, and action of characters.
3. Thought or theme. In dramatic structure, thought includes the idcar and
emotion implied by ':he words of all the characters. Thought also includes the
ovefall meaning of the play. Sometimes called tile theme. Thought or theme
of the play can be portrayed by its tille, its conflict, dialogue between its
characters, and its staging.
G. Kind or Souud Patterning
J. Rhyme (or rillie), dcfmed most narrowly, occurs when two or more words or
phrases contain an identical or similar vowel-sound, usually accented, an.1 the
consonants-sounds (if any) that follow the vowel-sound arc identical: l,ay and
sleigh, prairie "'chC'ol'lcr and piano tuner. From thcsc cxamplcs it will be seen
that rhyme dcpends not on spelling but on sound28 Rhyme is usually reserved
2'1 Ibid;y X. 1. Kennedy,Luera/lire: An Jnfroducliolllo Ficliotl, PoelJy and Drama, (New York:llarpcrC'ollins Pnblisher, 1991),5'" Ed, p. 629
to refer to the final syllables of different lines of poetry when the vowel and
syllable-final consona'1ts (if any) of the words in question are identical. 29
There are teclmicaltenns for different kinds of rhyme, they are:
a. End rhyme oc;urs at thc end oflines
b. Internal rhym2 occurs within the lines
c. AJasculine or strong rhyme is a single stress-syllable like hill and still
d. Feminine or weak rhyme is two rhyming syllablcs, a strcssed one
followed by an unstressed one, for example hollow and follow
c. E)'e or courtesy rhyme is words spelt alike but not actually rhyming,
for example love and prove
f. Imperfect rhyme also called partial, near, slant, or off rhyme is words
which du not quite rhyme and so produce a sense of discordance, for
example soui and wall
g. Half rhyme also called consonance is repetition of the same consonant
sounds befor~ and after different vowel, for example groaned and
groinuf0
2. A!literalion primalily involves the repetition of the same or similar
consonants. 31 Alliteraiion is usually at the beginning of the words although
this is not always so. Here example fi'om one of old poems of end »f the
fourteenth centlllY:
29 Mick Short, Op. CiI., p. 11330 John Peck and MalUn Coyle, Op CiI., 5931 Mick Short, Op. Cit., 110
In a summer season when soft was the sun,I shope me in slu'ourh as I a shepe were.
Here dearly S0en the alliteration, the repetition of the lsi sound at the
words summer, season, soft and sun in the first line and the Ish/ sound of the
words shope, shrouc,'s and shepe in the second.
3. Assonance is the tenn traditionally reserved for pattel1ls of repetition between
vowel sounds. 32 This generally takes place at the end of lines, but necessarily
so. Two lines from Marlowe's poem 'The Passionate Shepherd' is the example:
Come live with me and be my loveAnd we will all the pIc.asurcs prove
At the first line, the initial III sound repeats at Illvl, 11'1I101 and Iwll/
and the initial IA/ sound seen in IkAml and !IAv/.
J'[bid,p.lll
CHAPTER III
RESOLT OF THE RE:SEARCH
A. Introduction
After analyze the texts uttered by the leading characters in Macbeth, the writer
found forty items those Gonsist of sound patteming: rhyme, alliteration, and
assonancc. They scattered from Act Onc until Act Five. After that, the writer
describes sound and phonetic notation of them. Finally, the writer makes a table that
maps sound patteming t1lat depicted by a main character at what act, what scene, and
what linc itlcHHld.
In this research, texlt; of t11c play taken fi'om Macbeth William Shakespeare
Complete School Edition published by Macmillan Education Ltd in London at 1986.
B. Result of the Research
1. Macbeth
a. Act One, Sce,ne TIu'ee, Line 81-82
Into the air; and what seemed corporal meltedAs breath into the wind. Would t11ey had stayed!
Melted and stayed depicted as end rhyme. The two words have final
Idl soumIs. Its IPA symbol is [dl.
b. Act On~, Sccne Tlu'ee, Line 147-148
Come what come may,Time and the, hour runs tlu'ough the roughest day.
May at the end of the first has the same fmal leIJ sound with day in the
second. It calted masculine or strong rhyme. Its phonetic symbol is
leI].
e. Aet One, Seer'e Four, Line 50-54
The Prinee or Cumberlan:l! That iq a stepOn which J m'lstfall down, or eL~e a 'erleap,For in my way it lies. Stars, hide your fires,Let not light see my blaek and deep desires;The eye wink at the hand; yet let that beWhich the eya fears, when it is done, to see
[Exit
Step and o'erleap have a sense of the same Ipl sounds, can be
categorized as imperfect rhyme. The IPA symbol is [p]. Fires and
desires have the similarity of lsi sound at tlle lond, which is known as
end rhymc. rllc 11'1\ symbol is [s]. Masculine rhymc also occurs in
words be and see. Its ll'A symbol is Ii:].
Assonancc of layl sound occurs in words J, my, lies, hide, fires, light,
desires, eye, and eye. Its IPA symbol is [aI].
Alliteration of 1m! sound oCClU'S at first syllable in words must, my, and
my. The IPA symbol is [m].
AIliterat.on of If! sound occurs at the beginning syllable in words fall,
for,fire:" andfears. The IPA symbol is [f].
Alliteration (,j IdJ sound occurs in the first syllable of words down,
deep, desires, and done. Its IPA symbol is [d].
Alliteration of Iwl sound occurs at thc fIrst of words: which, which,
and when. The' IPA symbol is [w].
d. Act Two, Scenc One, Line 60-65
Which now suits with it. Whiles I threat, he lives;Words to the I teat of deeds too cold breath gives.
[A bell ringsI go, and it is clone; the bell invites me.Hear it not, Duncan, for it is a knellThat surnrnOlli; the to heaven, or to hell.
[EXit
End rhyme is represented in words lives and gives, they are rhyme for
the sound lsi, its IFA symbol is [s]. Masculine rhyme occurs at words
knell and helllhose have III sound at thc cnd. The 110A symbol is [I].
e. Act Tlu'ce, Sc.;ne Onc, Line 140-141
It is concluded. Banquo, thy soul'sflight,If it fmd heaven, must fuld it tonight.
[Exit
Rhyme happc:lS at the fmalll! sound of words flight and tonight called
feminine rhyme. Thc IPA symbol is [t].
f. Act Three, Sc·;ne Four, Linc 23-24
But no\, I am ::abined, cribbed, cOll/ined, bound inTo saucy doubts and fears. But Banquo's safe?
Alliteration of 11<1 sound here happens in fu'st syllabie of word cabined,
cribbed, ?.nd cCJIYzned. Its IPA symbol is [k].
Alliteration of fbi sounds heard at the first of words: but, bound, out,
and Banquo. The symbol represents the voiced, bilabial, plosive
consonant somd heard in back, cabin, and cab. The lPA symbol is [b).
g. Act Four, SceM One, Line 94-101
That will never be:Who can imPPlSS the forest; bid the treeUnfix his earth-bound root? Sweet bodements! Good!Rebellious de"d, rise neve1' till the woodOf Bimam rise; and our high-placed MacbethShall live the lease of Nature, pay his breathTo time and mortal custom. Yet my heartThrobs to know one tIling: tell me, ifyou art
Rhyme happens in words: be and tree is masculine rhyme, it has
similar li:1 sound. Its TI)A symbol is [i:]. Good and 'wood are end
rhyme because thcy have Idl similar sound. The lPA symbol is [d).
A1acbeth and breath are end rhyme because they have similar 181
sound. Its TIJA symbol is [8]. End rhyme occurs at words heart and art
those ha\e sUT.ilar ItI sound. The lPA symbol is [t].
h. Act Five. Scer.e Three, Line 9-10
The mind I sway by and the heart I bearShall never sag with doubt nor shake with fear.
Bear and fear are end rhyme. They are rhyme for the same 11'1 sound.
Its lPA symbOl is [r).
1. Act Five, Scene Three, Line 59-60
I will not 00 aft'aid of death and baneTill Bimam [Oi'cst come to Dunsinane.
[llxeunt all but Doctor
Imperfect rh;'me happens in final sound of words bane and Dunsinane.
They have two similar In! sound but the syl.lable of two words are
different. The IPA symbol is [n].
J. Act Five, Scene Five, Line 42-52
I pull in my resolution, and beginTo doubt th' 0quivocation of the fiend,That lies like tlUth: 'Fear not, till Bimam woodDo come to l)unsinane' ; and now a woodComes toward Dunsinane. Ann, ann, and out!If tills which he avouches does appear,There is nor flying hence, nor tarrying here.l' gin to be aw~ary of the sun,And wish th' estate 0' the world were now undone.Ring tile alamm bell! Blow wind! come wrack!At least we'll die Witll harness on our back.
[Exeunt
The words b~gin to fiend are imperfect rhym<~. End rhyme occurs at
wood to wood those have initial/clJ sound. The IPA symbol is [d]. End
rhyme is rep! esented at words appear to here tlu'ough the same Irl
sound. The IPA symbol is [r]. Imperfect rhyme reflects at words sun to
undone. End rhyme occurs at words 'wrack to back. They are rhyme at
sound IlJ. ils IPA symbol is [I\].
k. Act Five, SCGm Seven, Line 13-14
But swords I smile at, weapons laugh to scorn,Brandished by man that's of a woman born.
[&it
End rhyme oc~urs at the ending sound Inl of words scorn and born. Its
II'A syu'bol is [n].
2. Lady Macbeth
a. Act One, Scene Five, Line 21-22
That wouldst thou holily; woulds! not play 1il1se,And yet wou/<I"t wrongly win.
Alliteration I)f Iwl souncl presents III the first syllable of words
woul&t, 'wouldst, woulds!, .,,,rongly, and win. Its IPA symbol is [w].
b. Act One, Scene Seven, Line 49-51
When you dur~t do it, then you were a man;And to be mdre than what you were, you wouldBe so much more the man.
The alliteration of Iwl sound occurs in the first syllable of words when
and what. The phonetic notation is [w].
Alliteration of Iwl sound also occurs 111 beginning of words were,
were, and wOl,ld. The IPA symbol is [w].
Alliteration of Im/ sound happens at the first syllable of man, more,
much, more, and man. Its IPA symbol is [m].
c. Act TIu'ee, S-:;ene Two, Line 4-7
Nought's had, all's spent,Where our deoire is got without content.'Tis safer to l)() that which we deotroyThan by destruction dwell in doublfid joy.
Imperier,t rhyme h:lppens in words open! :Ind content and it also occurs
in words deStroy andj~V.
Alliteration of Idl sound occurs 111 first \YOI'd of desire, deotroy,
destructJOn, d,vell, and doubtjid. The lPA symbol is [d].
3. Duucan
a. Act One, Scene Two, Line 1-2
What bloody hlan is that'! He can report,As seemeth by Ius plight, of the revolt
'111e words re]'ort and revolt are rhyme even though not so exactly but
have identiced sound between report and revolt. It called imperfect
rhyme. The Ipl sound at the first opposed with the Ivl sound at the
second as the 11'1 sound and the III sound are opposed but the lEI and/tl
have the simiwr sound.
b. Aet One, Scer.e Two, Line 44-45
So well thy words becomc thee as thy wounds,They smack o.f honour both. Go get him surgeons.
[Exit Captain
The sounds of wounds and surgeons in the sense have almost identical
sounds so thcy are in1perfect rhyme.
c. Act One, Scene Two, Line 64-65
Go pronounr,e Ius present death,And with his fonner title greet Macbeth.
Rhyme of 10/ final sound in words death and AIacbeth are sinrilar. TIus
symbol represents the voiceless, dental 01' interdental, fde,lt:ve
consona:lt sound heard in thin, ether, and smooth. Its IPA symbol is
[0].
d. Act One, Sc~pe Four, Line 19-20
Might have been mine! Only I have left to sqJJ,
More is thy due than more than all canpqy.
Say and pay represent the similar leI! ending sound, which is ~alled as
masculine rhyme. The IPA symbol is [el]. AJliteration of Iml sound
occurs in wo':r!s might, mine, more and more. Its TI>A symbol is [m].
4. Malcolm
a. Act Four, Sce<1e Tlu'ee, Line 45-49
When 1shall tread upon the tyrant's headOr wear it on my sword, yet my pOOl' eounuyShall have more vices than it had before,More suffer, 2nd more sun(1I)I ways than ever,By him that sl,all succeed.
Alliteration of Ij/ sound hears in the beginning of words: shall, shall
and shall. Its ll)A symbol is [f].
Alliteration of lsI sound shows at the fIrst of words: sword, sujfer,
sundt)l, and :;ifcceed. The ll'A symbol is [s].
b, Act Four, Scene Tlu'ee, Line 209-210
Give sonow 1'lOrds. The gtief that does not speakWhispers the o'erfraught heart and bids it break.
Speak aud bl'>!ak give a representation of end rhyme. They are rhyme
at IkI sound <,nd have a symbol in II'A as [k].
5. Macduff
Act rive, Seene Six, Line 9-10
tv1ake all our trumpets speak; give them all breath,Those clamorol.s har[.ingers of blood and death.
[E,eunt. AIarums
End rhyme represents in the final 101 sound of words breath and death. Its IPA
symbol is [0].
6. Banquo
Their candles are all 0Ut. Take thee that too.A heavy summons lies like lead upon me,
Alliteration of 161 sound happens in the beginning words of theil', thee, and
that. Its ll)A symbol :.c: [6].
Alliteration of ItI s:·nncl presents at first of words take and too. The IPA
symbol is It].
Alliteration of 11/ so:md occurs in first words of lies, like, and lead. Its ll)A
symbol is [I].
Assonance of layl sound occurs in words lies and like. Its ll'A symbol is [aI].
7. First Witch
a. Act One, Sr;er,e One, Line 1-2
When shall we three meet again?In thunder, lightning or in rain?
Again and rain are end rhyme because they have the same two final
sounds: lem/.
b. Act One, Scene Three, Linc 9-10
But in a sieve :'11 thither sail,And, lil<t; a rat without a tail,
The words sail and tail are weak or feminine rhyme. The leI! sound in
[wo wods an; simihlr either the III sound.
c. Act Onc, Scer;e Three, Line 18-25
I'll drnin him city ns hay;Sleep shall nei11lCr night nor dayI-Inng upon hib penthouse lid;He shall live a man forbid.Weary sev'n-nights nine times nineShall he dwme1]e, peak, and pine.Though his bark cannot be lost,Yet is shnll be tempest-tossed.
The rcpresentution of masculine rhyme occurs at the last words hay
and day. They have the same/eyl sound. Its IPA symbol is [eI]. Words
lid and forbid are imperfect rhyme. Their similarity lies at lell soune!.
Its IPA symbol is [d]. End rhyme is represented at words nine and pine
those have similnr Inl sound. The IPA symbol for that is [n]. Words
lost and tossed are imperfect rhyme.
d. Act One, Seene Three, Line 28-29
I-Iere I hnve E, pilot's thumb,Wrecked as homeward he did come.
Here eye rhyme reveals in the final words of thumb and come. They
have initial Im/ sound. Its IPA symbol is [m].
e. Aet Four, Seene One, Line 4-9
Round about ,he cauldron go;
In 111e pOiSOl'c1 entJ'ilillhrow.Tond that under cold stoneDays nml nigJlts hast thirty-oneSweltered venom sleeping gal,Boil thou first I'lhe ehanued pot.
Imperfect rhy!ne occurs in words go and throw. Masculine rhyme also
happens in words got and pot. The two words have the same It! sonnd.
The IPA symbol is [tJ.
f. Act Four, ccene One, LineI27-132
Come, sisters, cheer we up his sprites.And show the best of our delight.I'll chann the ~ir to give a sound,While you perfonn your antie round,That tlus great king may kindly sayOur duties did Ius welcome pay.
Imperfect rh:l'ne occurs in words: sprites and delight. Words sound
and round are end rhyme. Words say and pay arc masculine or strong
rhyme. They have similar leyl sonnd. 'llle n)A symbol is [elJ.
8. Scwnd Witch
a. Act One, Scene One, Line 3-4
When the hurljburly's done,When the battle's lost and won.
Done and Wail rhyme because at the end of the lines have tile same
two final sounds: 11111. Thc F'I symbol represents a sonnd commonly
known ~s the "short" 11, as in lip and love. It is typically a low, celltral
vowel fanned with relatively lax tongue muscles and with uuro unded
lips. The IPA symbol is [AJ. The In! sound at the end of the words is
the voiced, alveolar, nasal, consonant sonnd. Its IPA symbol is [n]
b. Act Four, Scene Onc, LinG 12-19
Fillet of a feIny snake;In thc cauldron boil and bake:Eye of newt, ~nd toe of/rog,Wool of bat, and tongue of dog,Adder's fork, and blind-warm's sting,Lizard's leg "lId howlet's wing,For a chann of powerful trouble,Like a hell-brC'th boil and bubble.
Here we can sce eye rhyme at the final sound of words snake and
bake, Fog and dog, sting and 1ving, and trouble and bubble.
c. Act Four, SC,",/lC Onc, Linc 37-38
Cool it )\ith ~ baboon's blood,Then thi;: chann is fmn and good.
Even though blood and good havc thc same final sound, they are
imperfcct rhymc.
d. Act Four, SceJle One, Line 44-47
By the prickin;!: of my thumbs,Something wic.ked this may comes;Open, loch,Whoeve" knocks.
Thumbs and c?me are impcrfect rhyme and masculine rhyme oceurs in
locks and knocks.
9. Third Witch
a. Act One, SeClle TlJrce, Line 30-31
A drum, a clru111 !!v!acbeth doth come.
1(1, All
DrtllII in the tirst and cOllie in the second haw id~nlical Iml ,ound can
be categot1z"d as eye rhyme. The II'A symbol is [mi.
b. Act Four, Sc'me One, Line 22-34
Scale of dragon, tooth of wolf;Witehe~' mUlllmy; maw and gulfOf tht' ravincd salt-sea shark;Rool of hembck digged i'the dark;Liver of biasl 'heming Jew;Gall of goal, .md slips ofyewSlivered in th; moon's eclipse;Nose of Turk, and Tarlar's lips;Fil1ger of birl~l-strangledbabeDilch-delivered by a drab,Make Ihe gnd thick and slab:Add Ihere to .I tiger's chaudronFor Ih' ingre(lience of our cauldron.
Eye rhyme happens in words wolf and gu!l. End rhyme occurs in
words shark ,md dark. IVlaseuline rhyme is presented in words Jew and
yew. Imperfeel rhyme reflects at words eclipse and lips. End rhyme
shown in words drab and slab and chaud/'on and cauldron have
feminine rhYGle.
a. Act One, Scede One, Line 10-11
Fair isfoul, a'ld/bul is)<<i/':!lover Ihrou~.h IheFyg andjililw ,!i/,.
[1i\ell1ll
Here end rhyme appears Il1 Ihe final Iwo syllables in words .kdr and
air. Words/airJouIJoul, and}"ir allhe first li.ne andjbg andjillhy at
the second categoliz~d as alliteration because the If! sound repeated al
the beginning of the words. This symbol represents tIlt' vOIceless,
labiodental, fi'ieative consonant sound heard in fit, differ, and p4/ Its
11'/\ symllol is [fl.
b. Act One. Scene Three. Line 32-36
The Weird Sisters, hand in hand,PoslLors of Ihe sea and land,Thus do go aboul, ;Ibout,Thrice to thine, and thrice to mine,:\nd thrice ag;lin, to make up nine.
Here end rhyme occurs in words hand and land al the Erst and second
lines and cnd Ihyrne ,II words mine and nine al the ()rlh and firth lines.
Allitcration or 1M sound occurs in words the, thus, thine. lis 11'A
symbol is [il]. The allitcration of /01 sound occurs in won!:> thrice,
thrice, and thrice. The It'A symbol is [0].
c. I\ct FOUL Sccoe Onc, Line 10-]]
Doubk, doubk. toil and trouble;Fire bum. and cauldron bubble.
Words trouble and bubble have Ihe similar ending sound can classified
as rhyme.
b. Ac·t Four, Scene One, Line 20-21
Double, double, toil and Irouble;Firc burn, and cauldron bubble.
Imperfect rh:; me happens at the Enal sound of words trouble and
bubble.
c. Act Four, Sce:lc Onc, Line 35-36
Double, double, toil and trouble;Fire burn, and r-auJdron bubble.
Words trouhi~ and bubble are imperfect rhyme because they have
rather ~imilar 0nding sound.
d. Act Four, Sccne Oner Line 110-111
Show his eyes, and grieve his heart;Come like sh,;dows, so depart.
Heart and depart are end rhyme beeause they have the same fmal
sound.
ble of Kinds of Sound Patterning
Texts of the play taken from M acmillanlvfodem Shakespeare Macbeth published by Macmillan Education Ltd in London at 1986.All the pronunciation keys and symbol of sowlds derived from 17,e Random Hov.se College Dictionary Rev Ed published in New York byRandom House, Inc at 1975.
II
1Sound and Phonetic Notation
I
COi*PUS
I' Sound
Patterning
i
A I S ILine
C I Ct e
I: i,
iI e I1acbeth I 31 81-
Rhyme Into the air; and what seemed Ilvlelted and stayed depicted as ~nd rhyme, they have two similar initial82 corporall1lelted IIdl ending sound. Its IPA s)""bol is [d].
IA~ breath into the wind. \Vould I~~~~ I _
facbeth 1 I 31147- IRhyme Come what come may, I Words those classified as strong or masculine rhyme are may and day.
I 148 I Time and the hour runs through the IThey have the same leyl sound at the end. The IPA symbol is [e1].I I roughest day.
facbeth ' 1 4 50- ' Rhyme, The Prince of Cu.mberland! That is IStep and o'rleap are imperfect rhyme, they have the same Ipl sound. Its54 Alliteration, a step IPA symbol is [p].
and On which I must fall dowf'~ or else I Fires and desires are end rhyme, they have the same lsi sound. Its IPAIAssonance o'deap, Isymbol is [s].
I For in mv wav it lies. Stars, hide IWorr1< be to see are masculine rhv111e, they have Ii:! SOUlld at the end. Its
I-' J .. ~
your fires, IPA symbol is [i:].Let not light see my black and deep i Alliteration of Iwl sounds seems in the beginning ofwords: which, whichdesires; I and when. Its IPA symbol is [w].
IThe eye wink at the hand; yet let IAssonance of layl sound shows on words: I, my, lies, hide, fires, light,that be my, desires, and eye. The symbol repre,ents a sound commonly knownWhich the eye feurs, when it is as the "long" i, as heard in ice, bite, pirate, and deny. The IPA symbol is
Idone, to see. [aI],
[EXit Alliteration of If! sound heard at the beginning of words: fall, for andfiars. The symbol represents the voiceless, labiodental, fricative
,eading:haracter
I I I I
I I I II
Macbeth j2 1 1601
65Rhyme
IIVhich now suits with it. 'Whiles Ithreat, he h\-'es;
I IVords to the heat of deeds too coldbreath gives.
[A bell ringsI go, and it is done; the hell invites,
, In,;;.
Here it not, Duncan, it is a knellThat summons thee to heaven, or tohell.
Iconsonant sound heard infit, differ, and PlifJ. The IPA symboris [t].Alliteration of Iml sound heard at first syllable of words must, must, and
. my. The IPA symbol is [m].Alliteration of Idl sound reflects at begifu-llng of words dawn,deep, desires, and done. Its IFA symbolis [d].The words lives and gives are end rhyme, because they have rhyme forsound Is!. Its IPA symbcl is [s].Masculine rhyme occurs at words knell and hell those have similar IIIsound at the end. The IPA symbol is [1]. I
I
[E.I I ! I Ikxlt I,Macbeth 3 1 140- ! Rhyme and It is concluded. Banquo, thy soul's Flight and tonight are feminine rhyme because they have two initial
141 ! Alliteration flight, ending It! sounds but have different syllable at the first. Its IPA symbol,
IIf it find heaven, must find it out ~ro Itonight. Alliteration of If! sound hears at the beginning of words:flight,find, and,
[Exit find. This symbol represents the veiceless, labiodental, fricativeI
consonant sound heard infit, differ, and puff. Its IPAsymbol is [l].Macbeth 3 41 23-
Alliteration But now I am cabined, cribbed, Alliteration of IkJ sound heard at the beginning of words: cabined,24 I ,:onfined, ~o~nd in , r ~. cribbed, and confined. The symbol represents the voiceless, velar,,
plosive consonant sound heard in kert, keep, coop, scoop, taken, and, 10 saucy aouots ana rears. nUl
I Banquo's safe? make. Its IPAsymbol is [k].Alliteration of fbi sound heard at the first of words: but, bound, but andBanquo. The symbol represents the voiced, bilabial, plosive consonantsound heard in back, cabin, and cab. The IPA symbol is [b].,
Macbeth 4 1 94- Rhyme That will never be: Rhyme that happens at words be and tree is n;asculine rhyme, it has
101 Who can impress the forest; bid the similar li:1 sound. its IPA symbol is [i:]. Good and wood are end rhymetree because they have Idl similar ending sound. The IPA symbol is Cd].Unfix his ea..-th-bound root? Sweet Word Macbeth and breath are end rhyme because they have similar lei
ITTI
Ibodements! goodf---------- --rsouna-:-fhe lPA sy1nbol is (8]. End rhyme occurs at words heart and art !
i Rebellious dead, rise never till the I' those have two similar It! sound. Its lPA symbol is (t]. Ii~d II Of Bimam rise; a.'1d our high-placed iIMacbeth II
Shall live the lease of Nature, payI his breath I
To time and mortal custom. Yet myheartmobs to know one thing: tell me,ifyou art
1
- The mind I sway by and the heart I I Bear and fear are end rhyme. They are rhyme for the same /rl sound. Itsbear lPA s)'nlbol is (r].
, Shall never sag with doubt nor I 'I Rhyme
I
9-1051 3I ,
I 1
Macbeth
i, , I -.--.. -- ---~-.I--- ,
Macbeth 513 59- Rhy111e I I will not be afraid of death and Bane and Dll1Jsinl1JJe are imperfect rhyme, because they do not have Ll-zeI 60 I bane same syllable but only similar ending In! sOlli'1d. Its lPA symbol is (n]. I
I Till Bimam forest come toI Dunsinane.I (R'Ceunt all but Doctor
IMacbeth
515 42- I Rhyme II pull in resolution, and begin IThe words begin and fiend are imperfect rhyme. ~
52 I To doubt th' equivocation of that End rhyme occurs at words wood and wood those have initial Id/ sound.I
Ifiend I The IFA SYllibol is [d].That lies like truth: "Fear not, till End rhyme occurs at words appear and here through the same Ir/ sound.
I Bimam wood Its lPA symbol is [r].1 Do come to Dunsinane'.; and now a Imperfect rhyme occurs at words sun and wrdone.
wood End rhyme occurs at words wrack and back. They are rhyme at soundI Comes towards Dunsinane. Arm, 00. The lPA symbol is (k].I am1, and out!
If this which he avouches doesappear,There IS no flying hence, nor
[Exeunt
tarrying here.I 19in to be 3\veary of the sun,And wish th' es:ate 0' the worldVlcre now undone.Ring the alarum belli Blow wind!ComewrackiAt least we'll die with harness onour back.
l But- sworU::i I smilt at ",;0ByOf!S 1 St.-'orlt &.;l~ hOrll ale Cili rliyT116. O":C&US0 t~J.CY ll&\-e t~.T.:C similsr [mal /:1./1
I
Ii I I.-:-_~---r - -) I I b- I Rl'Y1l1~
14
II Bra';;di;h~ci by man that's of a
-- - - - - - -' -- - - - - - L- ~
,woman bam.
[ExitI
i I,I ,
Lady 1 5 21- Alliteration That wouldst thou holily; wouldst Alliteration of /w/ sound heard at the heginning of words: wouldst,Macbeth 22 not play false, wouldst, wouldst, wrongly, and win. The symbol represents the voiced,
And yet wouldst wrongly K';n. bilabial-velar semivowel heard in w.st and away. The JPA symbol isI [w].
Lady 1 7 49- Alliteration When you durst do it, then you were I Alliteration of /w/ sound heard in the first of words: when and what. ItsMacbeth 51 I ~m~n;.. • I~~symbolisJ~;l. ...... _ .
II Ana to De more man wnar you I l'JmeratJon or IWI souna represents at me Degmmng or woras: were,
were, you would were, and would. The symbol represents the voiced, bila0ial-velarI Be so much more the mall. semivowel heard in west and aw~'. The IPAsyrnbol is [w].
Alliteration of fro! sound reflects the beginning ofwords man, more,much, more, and man. The symbol represents the voiced, bilabial, nasalconsonant sOlmd heard in my, simmer, and him. Its JPA svmbol is rm].
Lady 3 2 4-7 Rhyme Nought's had, allis spellt, Imperfect rhyme occurs at words spellt and contont as occurs at wordsMacbeth and Where our desire is got without destroy andjoy.
Alliteration content. Alliteration of /dl sound reflects at the beginning of words: desire,'Tis safer to be t1J.gt which we destroy, destruction, and dwell. The symbol represents the voiced,
l\1acbeth
fIn 1-2 I Rhyme
I I
I III !I I i
Alliteration of If/sound shows at the beginning of words: shall, shall Iand shall, The IPA symbol is U].Alliteration of lsi sound heard at the beginning of words: sword, suffer, [sdndry ai"1d succeed. The JPA symbol is rs]. I
Words wounds and surgeons in the sense have almost identical sounds,so they are imperfect rhyme.
Words report and revolt are rhyme even though not so exactly but have Iidentical sound between report and revolt. The Ipl sound at the first I
opposed witl1 the Ivl sound at the second as the Ir/ sound and /11 sound 1
are opposed, but the 161 and IU sounds at the end have the smnlar sound.
Rhyme of the lei sound at the end of words death and Macbeth aresimilar, 1ms symbol represents the voiceless, dental or interdental,fricative consonant sound heard in thin, ether, and path Its lPA symbol Iis re].Say is end rhyme to pay, Both words have two the same ending leylsound. Its IPA symbol is [eI].Alliteration of Iml sound heard at the beginning of words: might, mine,more and more, That symbol represents the voiced, bilabial, nasalconsonant sound heard in my, simme.", and him. Its lPAsymbol is [m].
I·alveolar, plosive consonant sound heard ill dO,I:;Ldder, and bed. Its lPA I
symbol is [d]. iI
Go pronounce his present death,And with his former title greetMacbeth
So well thy words become thee asthy wounds,They smack of honour both. Go gethim surgeons,
[E"z" r'a~t-m'.~ ~ ....... -r' .....
When I shall tread upon the tyrantheadOr wear it on my S\1lord, yet mypoor COUI1try'
Shall have more vices than it hadbefore,More suffer, and more sundry waysth3l1 ever,By him that shall succeed.
What bloody man is that'! He canreport,As seemeth by his plight, of therevolt
I destroy'TI1an by destmction dwell indoubtfilljoy
IMight have been mine! Only I haveleft to say,More is thy due than more than allcanpaJ'.
Alliteration
IRhyme1 [2] 44, 45
4 I 3 I 4549
I, ,
il?1colm
)uncan
)uncan
1alcolm 4 3 209210
Rhyme Give sorrow words. The grieve thatdoes not speakWhispers the o'erfraught heart and
Speak and break give a reoresentation of end rhyme, They are rhyme atIkJ sound and have a symbol in IPAas [k].
I I bid, it break.
Macduff 5 6 9-10 IRhyme I Make all our trumpets speak; give Words breath aJ1d death are end rhyme. They have similar 181 sound atthem all breath, the end. Its IPA symbol is [8].
, Those clamorous harbingers ofblood and death.
[Exeunt Alamms
,i
Banquo 12 1 15-6 I' Alliteration ITheir candles are all out. Take thee IAlliteration of 161 sound heard at the begilli-llng or" words: their and thee.and that too. This symbol represents the voiced, dental or interdental, fricativeA'so~---e A ""1'" S"~--O-' ",. "h 1-'-' I 'o--or=t ,c"r~ 11-ard ir "-at -"1"'/' o~d sw oo'!- 'i'h. lP '\ -,~hol i.
f ."U u=,~ ~p~~~~e, ~,.... ,." ,,,, ,'~ "~~. ~Ce:~ti~:o;~: S:und -s~:~vs'i:':~: ~~~~:f'WO~: t~~J~~: to::
I I The symbol represents the voiceless, alveolar, plosive consonant soundheard in team, steam, butter, and bit, Its IPAsyn1bol is [t].
IAlliteration of 11/ sound represents at the first of word,: lies, like andlead. This symbol represents 1.."e voiced, alveolar, lateral consonant
Ii sound heard in low, mellaw, and all, Its IPA syn1bol is [1].I Assonance of lavl sound heard at words: lies and like, The symbol
Irepresents a so';'d comillonly know,", as the "long" i, as heard in ice,bite, derry, and pirate, The IPA symbol is [aI],
First Witch 11 1 1-2 1 Rhyll1e I i:'~~2:'117~:;::~:~~ ~~~~? ;;':~~e~ain are end rhyme because they have similar two ending I
I • The leyl symbol represents a sound cOliilnonly known as the I"long" a as in aid, cape, and way, The sound is l)'Picall)' a mid,front vowel, formed with relatively tense tongue muscles, andwith the lips slightly more open and less spread, Its IPA symbolis [e] for monophthongal variant, [e1] for diphthongal one,
The In! symbol represents the voiced, alveolar, nasal consonant soundheard now, sinner, and on. Its IPA symbol is [nl
-:;:F""ir-s"t-:;:W;:1;-:·tc-;hc-+l:-l-;3:-f-;9::-_-:-1-:;:0-+"Rh"ym-e----f-B~u"t ~in-s~i-e\-'e~r;;;I'l-,;thi~'th:>e-r-sa-l"'I,----+.;;T;::w::::o:.:::;rh,::ym=ing,.:.::"'l';:in::'e-'-s::::o:':;:bviously seen in words sail and tail. Saii and tail
IAnd, like a rat without a tail, have two similar ending sounds: sound leyl and Ill.
• Symbol ley/ represents a sound commonly known as the "long"
Hay and day are masculine because they have the same leyl sound at theend. The symbol represents the "long" a as in aid, cape, and way. The isound is typically amid, front voweL Its IPA symbol is [e] for themonophthongal, [eI] for the diphthongal one.Lid andforbid are inlperfect even though kve the same Idl SOUild at the
~%~~ ::::~ ~~:y::~~~ ~~~~e bes~u~e th~y h3':e 'he c2rJe ~'.vo fbeJ Iending In! sound. Its IPA symbol is [n].Lost and tossed are imperfect rh.yme even Dley have tv/o similar endingsound.
The words go and throw are in,perfect rhyme.Masculine rhyme happens at words got and pot. The two words havetwo similar It! sound. The IPA symbol is [t].
'Words thumb and come can be classified as eye rhyme. Thumb and comehave the same two [mal sounds: Imf Its IPA symbol is [m]. The Imlrepresents the voiced, bilabial, nasal consonant sound heard in my, Isimmer, and him. TheIPAsYlnbolls [m].
Words sprite;; and delight are imperfect rhyme.Words sound and round are end rhyme.Words say and pay are masculine or strong rhyme. They have similarley/soU11d. TheIPAsymbol is reI].
Here 1have a pilot's thumb,Wrecked as homeward he did come.
[Dn!m 'within
Rowld about the cauldron go;In the poisoned entrails throw.Toad that U1lder cold stoneDays and nights hast thirty oneSweltered venom sleeping got,Boil thou first ilthe cha.rmed pot.Come, sisters, cheer we up hissprites,And show the best of our delights.l'l1 chaml the air to give a sound,\X/hile you perfonn your anticround,That this great king may kindly sayOur duties did his welcome pay.
l'l1 drain him dryas hay;Sleep shall neither night nor dayHang upon his penthouse lid;He shall live a manforbid.Weary sevIn-nights nine times nineShall he dwindle, peak, and pine:
, Th01'.g~ his hark ':al1!".o~ be lost,Yet it shall be tempest-tossed.
,
I II
First Witch I 1 3 28- Rhyme!
1
29
First Witch i 4 I 1 14-9 1Rhyme
I i
II
First Witch I 4 11 1127- IRhyme
I 132
1I
I Ii
IFirst Witch I 1 I 3 I 18- i Rhyme
25
I
>econd,Vitch
:;econd 14 1 ]37- i RJ1Ylne (:'001 it with a baboon'sblood,IEVenthough Mood and good have t;.hesame (mal 7& sOJmd,they are]iVitch '! 38 i Then the chann is finn and good. Iimperfectrhj1ne. The IPA symbol is [d]. I
J, , (h . B I . k" I' 1 b '1' d' . D h :4 I 1 144- I:R ymc y t 1e pnc mg 0 my t wm s, IT llimos an- carnes are Hnper ect r yme.
I, ,47 , Something wicked this way comes: Masculine rhyme occurs in words locks to knocks.
I, Open, locks, I
I, Whoever knocks.
I I .,I I I '
SeCOndIlTf3=4 i Rhyme When the hurlyburly's done, DOlle arid wall hal'c the same two final sounds: If'n!. I\Vitch Ii! When the battle's lost and won I The /-'1 symbol represents a sound commonly known as the "short" u, as I
. I! I 1 in up and lo·ve. It is typic~lly a lav-/, centI:al v~v...d fom,led v;ri~h f?latively IIIi. , lax tongue muscles and with unrounded lips. lts I?A symbolls ['1 I
, 1 I liThe In! symbol represents the voiced, alveolar, nasal consonant sound! ii, heard in now, sinner, and on. The IPA symbol is [n]. --j
=s-ec-o-n-d::----+i-:4-1/ 1 112- i Rhyme Fillet of a fenny snake, I The words those have a quality of eye rhyme are: iWitch I 'I 1 19 I In the cauldron boIl and ~ake; e snake and bake 'I
I Eye of newt, and toe ofJrog, Q ji-og and dog
I II I Wool of bat, and ton"oue of dog, t' d' I, • G S Ina an WIng
1I Adder's fork, and blmd-wom1's .' b'l db bb
'I
i 'i i sti?'!g, 'd trouu e an U "e. i
I I· Lizard's leg and howlet's wing, I
For a charm ofpowerful trouble, I____---'1 i Like a hell-broth boil and bubble. I
2234
1
3'130- II' Rh.0ne A drum, a druml Dnml and come in the sense have similar l'ml ending sound, Sound !'m!31 Macbeth doth come. at the end of drum and come is similar.
IThe flY represents a sound commonly known as the "short" u, as in upand love, It is typically a low, central vowel fonned with relatively lax
Itongue 1l1uscles and with unrounded lips, The IPA symbol is [I'].The Iml represents the voiced, bilabial, nasal consonant sound heard in
I '1 , simmer, and him. Its IPAs 1bol is m ,-Rhyme Scale of dragon, tooth of wolf, Eye rhyme happens at words wolfand gulf.
Witches' mummy; ma'y and gulf End rhyme occurs at words shark and dark.
1
4bird Witch
[bird Witch
Tilm. l Of the ravined salt-sea sharlc~ ~ }viasculine rhyme is presented at words Jew and yew. I
IIRoot of hemlock digged i' the dark, I Imperfect rhY111e happens at words eclipse to lips. II Liver of blaspheming Jew; , End rhY~11e shovm at words drab to slab. ,I Gall ofgoat, and slip ofyew IWords chaudroli to cauldron are feminine rhyme. I
Slivered in the moon's eclipse; I I'
INose of Turk., and Tartar's lips; I' I
Ditch-delivered by a drab, . I~~~~~~. I IAdd the th~reto a tiger's chaudron !For th' ingredicnce of our cauldron ! I
-;;;----+-::-t-:-t---;:---t---=--~c-r-;o_~ --- - - - - . .....J - I!l 1 J. I 10- P...h,Y1TIc aT1c. F3i.:- isfc-ul, ar:Jfo~I i,:;/w.i;~: 1\ \\rcrd.;faii·· and ai,' h.8:Jc the similar t"v.'o syllaoles. it can be classified as
I 11 Alliteration Hover through the fog and filthy end rhyme.air. Words jair,joul,joul, andfair at he first andfog and filthy at the second
I[Exeunt Ihave alliteration of If! soundat the beginning. This syn;bol repre:~nts t;'e
II
VOIceless, labIOdental, fncatIve consonant sound heara mfit, difJer, and
I, I]Jlitf. Its IPA sY111bol is [f]. II I I'
U . 1 3 32- 'I Rhyme and The Weird Sisters. hand in hand, i 11,e words those end rhyme are hand and land. :36 .Alliteration Posters of the sea and land, I Words mine and nine are end rhyme.
IThus do go abo::t, about, Alliteration of 101 sound appears in beginning of words. the, thus, and17wice to thine, and thrice to mine, thine. Its IPA symbol is [0].
II And Ihrice again, to make up nine. .Alliteration of /81 sound occurs at words thrice, thrice, and thrice. ItsI IPA sY111bol is [8].
I 4 I II! 10- I R..~YIl1e IDouble, double, toil and trouble; Ii Trouble and bubbie are imperfect rhyme. I11 Fire burn, and cauldron bubble.
1 14 1 120- RhY111e Double, double, toil and trouble; Trouble and bubble are impe,-f'ect rhyme. 1
21 Fire burn, and cauldron bubble.I 4 1 35- Rhyme Double, double, toil anc1lrouble; Trouble and bubble are imperfect rhyme. I
36 Fire burn, and cauldron bubble,
I
[ Ij4 1 IIlO- I-Rhyme_________-"I. ,Ill L
Sho\\" his eye-s, and grieve hi:-: heart, I Hear! and del-:;;;:i"a-re' end rhvrne because thev have the saIne tmaliCome lIke shado'ss, so .i~part i sound. ~ . ~ :------ _ .._.. - - ..---_ ~ _ - _ _ _. _ _.- . __ _ __ ..
D. Discussion
Based on the results of the research, the writer can give description about
three kinds of sound patterning employcd by Shakespeare through his char;lcters in
Macbeth. Here are the descriptions:
1. Rhyme or lime
The use of rhyme in tllis play has several iimctions. It may desclibe as follow:
a. Indicating the ene. of a scene
When a main ch:li'acter speaks and his! her lines consists of rhyme, it may
j'ldicatc end of a scene and nsuillly followed by exit of a character or more
them one charactq's out of stage. In this way, Shakespeare gave stage
direction at the play's texts 0y using Exit if only one character goes out
and Exeunt if m0\'C than one characters go out. This indication reflects in
several lines, they are:
1. Act One, Scene One, Line 10-11
All
Fair is foul, and ioul is fail':Howl' through the i()g and filthy air,
[Ex:eun/
2. Act Two, Scene One, Line 60-65
Macbeth
\Vhich nJW sdits with it. Wl1i]cs I threat, he lives;Words to the 1:eat of deeds too cold breath gives.
[A bell ringsI go, and it is done; the bell invites me,Here it not, Duncan, it is a knell
That summono thee to he,lven, or to hell.[Et-it
3. Aet Three, Serme One, Line 140-141
Macbeth
It is conclude1. Banquo, thy souls'sjlight,If it find heaven, must find it out tonight.
[Exit
4. Aet Five, SeeDC Three, Line 59-60
]V[acbeth
I will not be ,tfi'aid of death and baneTill Birnam Forest eome to Dunsinane.
[Exeunt all but Doetor
5. Act Five, Scene Five, Line 42-52
Macbeth
I pull in resolution, and beginTo doubt th' equivocation ofthatjiendThat lies like tJUth: "Fear not, till Bimam woodDo come to Dunsinane".; and now a woodComes towards Dunsinane. Ann, '11111, and out!If this which he avouches ctoes appear,There is 110 flying hence, nor tanying here.I'gin to be awealy of the sun,And WiS~l th' estate 0' the world were not undone.Ring the alarllln bell! Blow wind! Come wrack!At least we'll die with harness on our back.
[Ewl/nt
6. Act Five, Scene Six, Line 9-10
Macduff
Make all our trumpets speak; give them all breath,Those clamoi'Uus harbingers of blood and death.
[E\·eunt. Alarums
7. Aet Five, SCCHe Seven, Line 13-14
Macbeth
But sword I swile at, weapons laugh to scorn,Brandished b:' man thaI's of a woman born.
[Exit
b. Adding the eruoYlilent of poetIy in the play
\:V11en one word rhymcs with another, we usually experience pleasure in
finding harmony and order between the two. The echoing of two similar
ending sounds adds to our enjoyment of the poetry in the play. The use of
identical sounds ;It the end makes tl10 lines casily to r0mcmber. That is
adding to audience's memmy. It takes the lines ear-catching. Four lines at
the beginning at II,e play are thc example:
Act One, Scene One
First Witch
When shall we three meet again?In thunder, hghtnipg or in rain?
Sewnd Witch
When the hurlyburly's done,Whcn the battle's lost and won.
<: Reinforcing t:1C si1uation and circnmstancc of a sccne
For example in tlc;t Four, Sccnc One. Stage direction is like this: A hOlise
in Fon·es. In th9 middle a boiling cauldron. Thunder. Enter Three
Witches.
First Witch
Round about the cauldron go;In the poisoned entrails throw.Toad that under evld stoneDays and nights hast thirty-oneSweltered venom sleeping got,Boil thou first i'tl10 chmmcd pot.
All
Double, doublc, toil and trouble;Fire burn, and c,·,uldron bubhle.
Second ,"Vitch
Fillet of a fenny snake,]n the eaulch on b0il and bake;Eye of newt, and laC ofji'og,Wool of bat, and tongue of dog,Adder's fork, ,md blind-warm's sting,For a charm of powerful trouble,Like ,1 hell-broth boil and bubble.
All
Double, double, loil and trouble;Fire burn, anC: eaul.dron bubble.
Third Witch
Scale of dragon, tooth of wo!!;\Vitchcs' mummy: maw and gul!Of the ravined s,.II-sea shark;Root ofhcm'ock <liggcd i'the dark;Liver of blaspheming Jew;Gall of goat, and slip ofyewSlivered in the mo;m's eclipse;Nose of Turk, ane! Tartar's hj)8;Finger of birth-stnmgled babeDitch-delivered l'y a drab,Make the b,ruel thLk and slab:Add thcreto a tiger's chaudron
For th'ingrediencc of our caliidroli.
All
Double, double, toil and trouble;Fire burn, and cwldron bubble.
Second \VilCh
Cool it with a babJoon's blood,Then the c1nrm is finn and good.
From Line ,.-38, Three Witches, one by one, spe.ak in rhyming lines. In
this scene, loeatec1 at FOITes, they make their magic spell into cauldron that
consists of many things derived from parts of animal bodies and herbs.
Most of that anin\als and herbs thought to be poisonous. It is commonly
known that witch usually makes such liquid filr her pUllJoses. For
example: to cause some one's death by pouring this liquid in to his/ her
drink. In order :c make this liquid more powerful, they give magiG spell
chning the procew, of making it. Their malignant aeth.ity enhance by using
rhyming lines.
2. Alliteration
Beside for the aesthetic pleasure to the reader or audience, th0 use of
allitcration in the Iinc, of this play lllay creatc reference to thellle of the play
or try to makc the sounds of wonls emphasize the meaning in some way. Here
is the e:;ample:
Act Onc, Scene One, Line] 0-11
All
Fail' isf{Jul, ancljoul lsfair:Hover through the jog and filthy air.
Repetition of sound !fI at the beginning of wonls fail', fCJul, jog, and jUthy and
the moaning of the'Je words enacts the whole atmosphere of the play: the
disorder caused by 11 iaebeth by killing the legitimate ruler. At first, Macbeth
is a loyal army leader to Duncan but at the end, he becomes a traitor and
untrustworthy by doing every things 10 preserve his power. It nwkes the order
becoming wars,;. M'.cbelh's deeds associated to Witches' lines which are
represent Ihe liJI'(;es of evil show the disturbance of orde;' tlu'ough their speaks:
the things which !lonnal people regard as good have becomes evil to t:lem.
3. Assonance
Assonance has the S;lJne function with rhyme and alliteration, for the pluasure
in which the em' want; to hear and emphasize the meaning in some way by the
sounds. The example i~:
Act One, Sccne Four, Line 50-54
rV!aebeth lAside]
The Princc of CUlllbcn,mdi That is a stepOn which / lllust fidl down, or else 0' erleap,For in my way it lies. ~:tars, hide yourjiresLet not light see my deep desires.
Notiec the rcpetition of thc same layl sound at the first of words f, my, lies,
hide, jires, light, and desires. Besides having the samc assonance sound that
makes har,nony in c, rs, the meaning. of these words are also symbolize
Macbeth's destructive. ambition after he heard Malcolm is becoming the heir
of Scotland throne.
A~; far as the w"i'.er's examination, the use of sound patteming within the lines
of main characters fi"om Act One until Act Five can be described as follow:
1. Macbeth, whcn he sp';aks, and his lines consist of
a. rhyme are te'l cOlllora
b. alliteration are three corpora
c. assonance is one corpus
Lady macbeth. Her lines those have
a. rhyme is one corpus
b. alliteration are three cOllJUS
3. Duncan. Duuean's t.llerauces those have
a. rhyme are three corpora
b. ;1I1iteration is one cOIlJUS
4. ~dalcoJm. His lines those have
a. rhyme is one corpus
b. allit,'ration is ene corpus
5. IVlacduff's lines whid' present rhyme. only one eOIlJUs
6. Banquo. His lines which have
a. alliteration is one cOIlJUS
b. assonance is uno corpus
7. First Witch' liues thoS'o rhyme are six corpora
S. Second Witch' lincs "hich rhyme arc {'our coq)or,1
9. Third Witch' linc have rh:'mc at two corpora
10. All. Three Witches speak in
a. rhyme in six c!JIvora
b. alliteration in tWO cOIllora
CIJAPT1<:R IV
CONCLUSION AND SUGGES'I'ION
A. Conclusion
Drama as a work 01 art has its spccilic characteristic. DiJ1ercnt Ii'om poetry
and novel, drama is the lllost immediate and intense of literatllre. It is immediate
beeaL;se it is performed and intense because it is shol'l. The impact of drama is direct
to the spectators. The spectaiors sec aelion through actors' activitics al the stage, they
sec what is done and whal is said. The rcsponse of the spectators when drama is
per!(lrlncd is directly npon their senses. When we l'c'ad a wor!, of prose such as novel,
it may tells us what a charll\'ler looks like in one parag,raph, how hel she behaves or
moves in a second.. what l1el shc says in a third, and how the other characters'
responscs in a forth. Drama j"'rformancc presenls all this material al once directly.
Each plaY\Vlight has one characteristic Ihat differentiates his works with the
others. William Shakcspear.· preferred to wrile his plays' dialogne in poetic fonn
such ilS the usc of line arrlli ,gemenl. Ihe lise sound and rhythm, the usc of change
pwse 10 verse, II", use of ditlerenl kinds of i1gurativc language, and so {(1rih.
One of poetic aspects amazedly used ll'equentJy by Shakespeare tJat
resembles in Macbeth is so'.md pallcming. There arc nutnetOus lines in this play
consist of rhy111e, alJiteration, and assonance. The usc of this poetic aspect in a drama
makes the andicnce enjoy t~\e thcl110 presenled within the SIOlY and the need of the
hearer to the hannony OIl one occasion. It also helps the audience in understanding
;)bout atmosphere of a play hetter. SOl,nds of words uttered by a character in the line
have a elose relationship te the meanings. EvelY word are both a sound and a
m~allingl we: cannot separate one by one. Sounds rnay enact n1c,~ningsJ and we can
hear the meaning in the 80U11(.S. That is the richness of Shakespearean Drama.
In this tragedy. lvfacboth as a centnl Jigure has a large passage of verse, and
his verse has a great preselitation of sound patterning. Composition of lines those
consiSt sonnd pallerning uliered by tvIacbeth is more richly plentiful than the other
leading clwracters do. The other main ehariiclcrs mentioned abow also have sotllld
pallcrning in their lines, but less than I\'Iacbelh. Shi'kespeare bronght the audience's
attention to the theatricality uf his \Vork through its leading character's worcls which
arc tend to poetic, beside make" the pby more lively aneI enjoyable, finally it draws to
nnderstancling the theme conveyed in the play.
B. Suggestions
Through his cxtraoJliuillY literary works especially in his plays, William
Shakespc;ire prO\·idcd all material to the researcher who wants to scrutinize the
language employee! by him. 11 maya number of different vmieties of subject from the
thcmcs and issues convcyed through the story, eharilctcrs ilnd their lmlguilge, plot il!ld
its development and constrtlction, the use of imageries ilnd figurative languilges
within the di:1Jogue of the characters, the usc of devices of sound in the line, ilnl! so
f(lrth.
Analysis of sound l"Jterning in Ihe lines uttered by some leading characters
and its hmclions is like a drop of \ValerO'om the deep oce;m of poetic aspects that can
be explored in IVlacbeth. Hc1ated to that, it is going to be more excellent if this
research also exploit aboul figurative language in the lines uttered by main characters
in Macbeth. Figurative language is a wide range from simile, metaphor, conceit,
personification, symbol, image, paradox, to ambiguity. Same of the use of soune!
pat1erning in the play's dialogue, the usc of figurMive language may have function
that make the play powerful
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