The Power of Sound:The Power of Sound:

An Analysis of the Use of An Analysis of the Use of Sound in SelectedSound in Selected

Beau F., English 202Beau F., English 202Clemson University, Spring Clemson University, Spring

20052005

Poetry is a literary form distinguished Poetry is a literary form distinguished by its use of the subtle nuances of by its use of the subtle nuances of language. Where prose writers have language. Where prose writers have time to develop plots and characters, time to develop plots and characters, the compact nature of poetry forces the compact nature of poetry forces poets to utilize all of the aspects of the poets to utilize all of the aspects of the language in an efficient manner.language in an efficient manner.

One of the more One of the more important tools poets use important tools poets use

is the sound of words as is the sound of words as they are spoken. This they are spoken. This

poetic tool is emphasized poetic tool is emphasized in the poems “The in the poems “The

Secretary Chant” by Secretary Chant” by Marge Piercy and “Player Marge Piercy and “Player

Piano” by John Updike. Piano” by John Updike. These two poems These two poems

exemplify the usage of exemplify the usage of sound to support a theme sound to support a theme

and emphasize the and emphasize the meaning of a poem. meaning of a poem.

One way in which Marge One way in which Marge Piercy utilizes sound in Piercy utilizes sound in

“The Secretary Chant” is “The Secretary Chant” is to approximate the to approximate the

sounds of an office by sounds of an office by using onomatopoeia in using onomatopoeia in certain places of the certain places of the

poem. Piercy, known for poem. Piercy, known for “her gift for precise “her gift for precise

description,” uses sound description,” uses sound as her key mode of as her key mode of

description in this poem description in this poem (Booklist 1221). (Booklist 1221).

Two lines, in Two lines, in particular, particular,

demonstrate the use demonstrate the use of onomatopoeia to of onomatopoeia to

elucidate the image of elucidate the image of a woman becoming a a woman becoming a machine. Line seven machine. Line seven

blurts out, “Buzz. blurts out, “Buzz. Click.” and line 14 Click.” and line 14

rings off the noise of a rings off the noise of a cash register - “Zing. cash register - “Zing.

Tinkle.” Tinkle.”

Piercy is attempting to present an Piercy is attempting to present an image of the speaker as a woman image of the speaker as a woman

crossed with office equipment; crossed with office equipment; dehumanized by her job. The noises dehumanized by her job. The noises

which the speaker makes are obviously which the speaker makes are obviously not human sounds. Indeed, they are the not human sounds. Indeed, they are the sounds of the machines that surround sounds of the machines that surround the secretary all day as she performs the secretary all day as she performs the mechanical tasks of the office. the mechanical tasks of the office.

Alexis Tadie wrote in Alexis Tadie wrote in his essay, “From the his essay, “From the Ear to the Eye,” that Ear to the Eye,” that an emphasis on sound an emphasis on sound suggests that the suggests that the reader must be aware reader must be aware of the materiality of of the materiality of the world and its the world and its acoustic properties acoustic properties (Syrotinski and (Syrotinski and Maclachlan Maclachlan 110).Updike certainly 110).Updike certainly follows this suggestion follows this suggestion in “Player Piano.” in “Player Piano.”

His use of sound His use of sound describing the piano describing the piano gives a sense of reality gives a sense of reality to the idea that the to the idea that the piano is a living entity. piano is a living entity. The first two lines read, The first two lines read, “My stick fingers click “My stick fingers click with a snicker/And, with a snicker/And, chuckling, they knuckle chuckling, they knuckle the keys.” When read the keys.” When read aloud, one can imagine aloud, one can imagine the piano talking to the piano talking to them in a series of them in a series of clicks and clucks. clicks and clucks.

The repeating “-ick” sound in The repeating “-ick” sound in the first line mimics the noise the first line mimics the noise the player piano’s parts make the player piano’s parts make

as they prepare to strike the as they prepare to strike the keys. Then, the movement of keys. Then, the movement of

the larger keys is described the larger keys is described using “-uck” sounds; implying using “-uck” sounds; implying

a larger, more clumsy a larger, more clumsy mechanism. This contrast mechanism. This contrast

throughout the poem lends throughout the poem lends an air of realism to the an air of realism to the

description. description.

Along with the individual sounds of Along with the individual sounds of words, both authors also use the words, both authors also use the rhythm of their poetry to enhance the rhythm of their poetry to enhance the theme of mechanization in “The theme of mechanization in “The Secretary Chant” and “Player Piano.” Secretary Chant” and “Player Piano.”

Piercy uses short bursts of Piercy uses short bursts of sound with a flat tone to sound with a flat tone to approximate the voice of a approximate the voice of a robot. (Meyer 702) This robot. (Meyer 702) This staccato rhythm results in staccato rhythm results in a further solidification of a further solidification of the theme. While the the theme. While the speaker is clearly a human speaker is clearly a human secretary, her voice has secretary, her voice has become machine-like as become machine-like as her humanity has been her humanity has been taken form her by the taken form her by the menial and mechanical menial and mechanical tasks of her job. tasks of her job.

Similarly, Updike mimics the rhythm Similarly, Updike mimics the rhythm of an old-time player piano tune in of an old-time player piano tune in

his poem. The rhythm almost his poem. The rhythm almost provides musical accompaniment to provides musical accompaniment to

the poem (Meyer 865). One can the poem (Meyer 865). One can imagine a ragtime song playing imagine a ragtime song playing

along with the words.along with the words.

He supports the motif that the He supports the motif that the piano is uncontrolled by humans piano is uncontrolled by humans with the cacophonic rhythm of line with the cacophonic rhythm of line 11. “But never my numb plunker 11. “But never my numb plunker fumbles,” While this line is difficult fumbles,” While this line is difficult for the human reader to say, it for the human reader to say, it comes naturally to the speaker of comes naturally to the speaker of the poem. The piano almost teases; the poem. The piano almost teases; bragging about its unfaltering bragging about its unfaltering precision while the reader stumbles precision while the reader stumbles over the awkward rhythm. over the awkward rhythm.

In conclusion, the use of sound in poetry In conclusion, the use of sound in poetry can help to emphasize themes and can help to emphasize themes and make imagery more vivid. The words in make imagery more vivid. The words in a poem have not only a literal meaning, a poem have not only a literal meaning, but also a more primitive, aesthetic but also a more primitive, aesthetic meaning as well. By using the sounds of meaning as well. By using the sounds of words and the interaction of these words and the interaction of these sounds, a skillful poet can create a sounds, a skillful poet can create a better understanding of the themes he better understanding of the themes he or she proposes. or she proposes.

Works CitedWorks CitedAbsolute Sound Effects ArchiveAbsolute Sound Effects Archive. 2005. 25 Apr. 2005 <http://www.grsites.com/. 2005. 25 Apr. 2005 <http://www.grsites.com/

sounds/office001.shtml>.sounds/office001.shtml>.

““Book Review: Book Review: Circles in the WaterCircles in the Water.” .” BooklistBooklist 72 (1982): 1221 72 (1982): 1221

Meyer, Michael. Meyer, Michael. The Bedford Introduction to LiteratureThe Bedford Introduction to Literature. 7. 7thth ed. Boston/New ed. Boston/New York: Bedford/St. Martin’s, 2005York: Bedford/St. Martin’s, 2005

Microsoft Office XPMicrosoft Office XP. Vers. 10.4205.4219. Microsoft, 2002.. Vers. 10.4205.4219. Microsoft, 2002.

Partners in RhymePartners in Rhyme. 25 Apr. 2005 <http://www.partnersinrhyme.com/. 25 Apr. 2005 <http://www.partnersinrhyme.com/

soundfx/Office.shtml>.soundfx/Office.shtml>.

Syrotinsky, Michael, and Ian Maclachlan. Syrotinsky, Michael, and Ian Maclachlan. Sensual Reading: New Approaches to Sensual Reading: New Approaches to Reading in Its Relations to the SensesReading in Its Relations to the Senses. London: Associated University . London: Associated University Presses, 2001Presses, 2001