INTRINSIC ELEMENT OF POETRY

1.1 Literature Review

This chapter presents the review of two paper and two international journal articles. The

review of literatures generally presents about the the intrinsic elements, followed by concepts of

intrinsic elements used in the poem. And the last is the theories used as a framework in the

analysis the review of the papers and journal articles is an follows.

The paper written by Handayani (2001) entitled “Symbolic Meaning of the Poem the

Rainbow”. This paper on the poem written by William Wordsworth gave the inspiration to

conduct this study. Her analysis is mainly focussed on the intrinsic elements of the poem, which

is limited into theme, diction, personification and meaning of the poem. Besides that, she also

describes the extrinsic elements into her study which is about the life background, socio-cultural

and environment of the poet.

The paper that also has the same topic was written by Wanjaya (2006) entitled “The

Analysis of Symbolic Meaning of the Poem Paysage Moralise”. In this thesis, the writer

analyzed and discussed about the kinds of symbolic meaning that is presented in the poem

“Paysage Moralise” and how the symbolic meaning is constructed in this poem.

The article by Lisa Chalikoff (2003:28:2), in a journal for the interdisciplinary study of

literature, described the rules that explain the movement of male and female characters in “The

Channel shore” by Charles Bruce. She concentrates on the differences in these rules to discuss
the logic of their application and to argue again the popular opinion that the novel portrayed in

an idealized community.

The international journal by Larry R Johannessen from Washington. (2001). The article

about “Enhancing Response to Literature Through Character Analysis”, published in The

Clearing House Journal in January-February. the article discusses about how to analyze

characters is their involvement in literature.

After reviewing those two article and two journal this study, I will focus to discussed

about intrinsic element of poem used by the Grace Nichols poem with the title “ The Fat Black

Woman Goes Shopping “.

1.2 Concepts

2.2.1 Concept of Poetry

Poetry is a form of literary art in which language is used for its aesthetic and

evocative qualities in addition to, or in lieu of, it’s apparent meaning.

Poetry may be written independently, as discrete poems, or may occur in

conjunction with other arts, as in poetic drama, hymns, lyrics, or prose poetry.

Poetry often uses particular forms and conventions to suggest alternative

meanings in the words, or to evoke emotional or sensual responses. Devices such as

assonance, alliteration, onomatopoeia, and rhythm are sometimes used to achieve

musical. The use of ambiguity, symbolism, irony, and other stylistic elements of poetic

diction often leaves a poem open to multiple interpretations. Similarly, metaphor,

simile, and metonymy create a resonance between otherwise disparate images a layering
 of meanings, forming connections previously not perceived. Kindred forms of

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

Technically poetry is a rhythmical pattern of words expressing deeply felt

emotion and/or experience and/or imagination. The greater the combination of emotion,

experience, and imagination is, the greater the poem will be. There are some important

things about poetry that seems to be good to note such as followings:

1. Poetry is concentrated thought; a poem says much in a little.

2. Poetry is a kind of word-music; a poem has a tune of its own.

3. Poetry expresses all the senses; a poem communicates thoughts by the poet’s choice

of words.

4. Poetry answers our demand for rhythm; a poem beats time simply and strongly.

Therefore we need only respond to it with our own natural rhythm.

5. Poetry is observation plus imagination; the poet has written under the spell of

emotional and intellectual excitement.

2.2.2 Concept of Intrinsic Approach

The intrinsic approach concentrates upon the quality of a poem from the form,

the meter, the language, etc. The intrinsic approach is an analysis of poem based on the

intrinsic elements without paying attention on the extrinsic factors. The intrinsic

elements are the elements that develop the literary work directly.

1.3 Theoretical Framework

Shopping “ in this study is based on the theory proposed by Diyanni.

According to Diyanni the intrinsic elements of poem consist of theme , plot , setting ,

character , sound , rhyme , alliteration , assonance , diction , imagery , symbol , stanzaic pattern ,

and structure.

1.3.1 Theme

The theme is neither moral or the subject of the story. In addition , theme is meaning the

story releases. Moral is a simple kind of theme , because all of themes of moral, it can be said

that theme is the main discussion the story released. Add moral is a simple sort theme.

1.3.2 Plot

Plot is a series of events created by the author to tell the story. In most of stories, these

events rise out of conflict experiences by the main character. The conflict isn’t come from

internal only but conflict comes from something external too. However, the causality aspect

only connects each those event. One event caused the other event to happen.

Plot is the reflection of the character’s behavior and attitude in acting, thinking, felling,

and facing the problems of life he or she faces. However not all of the human being experiences

called plot. In addition, he added that the event, attitude, and behavior of human being would

called a plot if they have special type.

1.3.3 Setting

Setting is illustration of times and palace. It can also include complex dimension such as

historical moment the story occupies or ist’s social context, because particular places and times

have impersonality or emotional essence. Setting was also one of primary ways that a fiction
writer established mood. When and where events occur are calls setting. They will become

background of the story. Therefore, the readers of the story will get information about the

condition and the situation of the places and times as the takes places.

It than can be concludes that setting is background, of story the event illustrate. It refers

to merely to the physical but also to non – physical. The physical setting my consist of place and

space namely road, rivers and house. In addition, non – physical setting or spiritual setting refers

to believe, costume, tradition and value as well.

1.3.4 Character

Character is a person in a play or story and character development involves both physical

descriptive and classification of the mental and spiritual qualities of the person .

The character is divided in two types: flat and round character. Flat character is less the

representation of human personality than the embodiment of a single attitude or obsession in a

character. Foster this calls kind of character flat because we see only one side of him. A flat

character that never surprises the readers is immediately recognizable and usually can be

represented as a single formula.

The characters in two categories, they are the major and the minor characters. The major

character are that a central to the action, so continual in there presents. In which it is expected

that the author explore their take up and motivation thoroughly. While the minor character as

miller, said has seen by us as they imagine on the person who support the major character so that

the major character action become live and logical as the real life.

The theories by Di Yanni book in this study the theory answer about parts of intrinsic

element of the poem there are theme, pattern of sound , Rhyme, Alliteration , Assonance,
Diction, Imagery, Symbol , Stanzaic pattern and structure. The below of description each

variable is :

1.3.5 Theme

Theme is a statement the poem/poet makes about its subject. Theme for poetry

has a slightly different meaning than theme for a work of fiction. In determining a

poem’s theme, we should be careful neither to oversimplify the poem nor to distort its

meaning. Theme is the basic idea that is then develops by the writer/ the poet to

become a poem.

The theme is a pattern of meaning which emerges gradually from a grasp of the

whole poem. The main areas of human concern to which themes seem to relate are the

following:

1. The effects of time; growth, change, ageing, death, transience, renewal, birth.

2. Human relationship; love, friendship, parting, loss, constancy, unfaithfulness.

3. Human consciousness; hope, fear, happiness, despair, self-esteem, self-rejection.

4. Human circumstance; freedom, restriction, abundance, deprivation,

communication, isolation.

2.3.6 Pattern of Sound

Sound patterning is a feature of the great majority of poems. The use of specific

vowels, consonants, accents and the combination of these three make up the sound of

the poem. Most poetry is composed to be read aloud. Sound devices can influence the

reader/ listener’s perception of the poem both intellectually and emotionally. Sound
 patterns are often used to link words which would not otherwise be connected. These

connections create meaning patters.

1.3.7 Rhyme

Poetry has been designed as a memorable speech because it is striking and it

expresses what a universal truth seems to be. It is also because of its neatness, its

aptness, its concentration, its power to move or to teach us. It is easily memorized

because of its form. We will find it much easier to memorize a rhymed verse than a

piece of unrhymed or blank verse. Rhyme is the effect caused by matching vowel and

consonant sounds at the end of words such as song and long, hope and cope, sat and

cat, and love and dove.

Rhyme can be defined as the repetition of the accented vowel sound and all

succeeding sounds in important or importantly position words (for example, old-cold,

vane-reign, court-report, order-recorder). The definition applies to perfect rhyme and

assumes that the accented vowel sounds involved are preceded by differing consonant

sounds. If the preceding consonant sound is the same (for example manse-romance,

style-stile), or if there is no preceding consonant sound in either word (for example,

aisle-isle, alter-altar), or if the same word is repeated in the rhyming position (for

example, hill-hill), the words are called identical rhymes.

DiYanni (2001: 457) states that rhyme can be defined as the matching of final

vowel and consonant sound in two or more words. When the corresponding sounds

occur at the end of lines we have end rhyme; when they occur within lines we have

internal rhyme. For the reader rhyme is a pleasure, for the poet a challenge. Part of its

pleasure for the reader is in anticipating and hearing a poem’s echoing dong. Part of its
 challenge for the poet is in rhyming naturally, without forcing the rhythm, the syntax

or the sense. When the challenges are met successfully, the poem is a pleasure to listen

to; it sound natural to ear, and its rhyme makes it easier to remember.

2.3.8 Alliteration

Alliteration is the repetition of the same sound, usually a consonant, at the

beginning of words or stressed syllables in close proximity. Important words and

accented syllables beginning with vowels may also be said to alliterate with each other

inasmuch as they all have the same lack of an initial consonant sound (for example,

"/nebriate of Air-am I”).

In addition, DiYanni in Literature Reading Fiction, Drama, and the Essay states

that:

Alliteration is the repetition of consonant sounds, especially at the beginning of

words. Example: ‘some’, ‘sound’, ‘sweep’ are supported by the internal and terminal.

Example: ‘gives’, ‘his’, ‘harness, bells’, and ‘is’. And also by mid-word, example:

‘ask’, ‘mistake’, and ‘easy’. (DiYanni, 2001: 458).

Although alliteration is the repetition of consonant sound in a series of words but

if the consonants are the same but the sounds are different they do not alliterate. The

function of alliteration is to connect meaning and make it cleaner. It also gives a touch

to the poem’s sound.

2.3.9 Assonance

If alliteration is the repetition of the same sound, usually consonant, at the

beginning of words, so assonance is the repetition of vowel sound; the vowels

themselves may be different but the sound has to be the same. Assonated rhyme begins
 with the last stressed vowel of line of poetry and may consist of either one or two

syllables, depending on whether or not the last stressed vowel is the final syllable in

the line. In addition, assonance is identical vowel preceded and followed by differing

consonant sounds in words in proximity.

According to Perrine in a book entitled Literature: Structure, sound, and Sense:

3rd Edition, assonance is the repetition at the close intervals of the vowel sounds of

accented syllables or important words, for examples, hot-ran-omber, vem-made (1963:

1498).

2.4 Diction

Poems include the best words in the best order. In reading any poem it is

necessary to know what the words mean, but it is equally important to understand what

the words imply or suggest. Diction refers to a poem’s entire words choice, the overall

effect, like the ingredients selected for a recipe, creating the tone or mood of the poem.

The poet chooses each word carefully so that both its meaning and sound contribute to

the tone and feeling of the poem. The basic part of this meaning is its denotation or

denotations: that is the dictionary meaning or meanings of the word. Beyond its

denotation, a word may also have connotations. The connotations are what it suggests

beyond what it expresses: its overtone meaning. Denotation relates at the emotions,

thoughts and ideas associated with and evoked by the word. The word home, for

instance, by denotation means only a place where one lives, but by connotation it

suggests security, love, comfort, and family. Connotation is very important to the poet

for it is one of the means by which he can concentrate or enrich his meaning, say more

in fewer words.
 Because poets often hint indirectly at more than their words directly state, it is

necessary to develop the habit of considering the connotation of words as well as their

denotations. Poets choose a particular word because it suggests what they want to

suggest. Consider, for example, the first two lines of the second stanza of Roethke’s

“My Papa’s Waltz”:

We romped until the pans

Slid from the kitchen

shelf;

My mother’s

countenance Could not

unfrown itself.

The word ‘romped’ actually could be replaced by ‘danced’ for describing a dance.

The word ‘romped’ is chosen since it means something different from ‘danced’. That

is, its denotation provides a different meaning, indicating play or frolic of a boisterous

nature. Although ‘romped’ is not really a dance word at all, here it suggests a kind of

rough, crude dancing, far less elegant and systematic than waltzing. But it also

connotes the kind of vigorous roughhousing that father and son occasionally engage in

and from which many mothers are excluded though here, of course, the romped is

occasioned by father’s having had to much to drink. “Romped” then both describes

more precisely the kind of dance and suggests the speaker’s attitude toward the

experience.

2.4.1 Imagery

Imagery is words and phrases used specifically to help the reader to imagine each

of the sense: smell, touch, sight, hearing, and taste. With imagery the poet peoples and
furnishes the world of his poem, and causes us to experience life itself. Indeed, it is

sometimes said that imagery is the very basis of poetry, and as we proceed we shall

observe the force of this assertion. The word image perhaps most often suggests a

mental picture, something seen in mind’s eye and visual imagery is the most

frequently occurring kind of imagery in poetry. But an image may also represent a

sound; a smell; a taste; a tactile experience, such as hardness, wetness, or cold; an

internal sensation, such as hunger, thirst, or nausea; or movement or tension in the

muscles or joints.

DiYanni (2001: 430) defines the images as the representation of mind as follow:

An image is a concrete representation of a sense impression, feeling or idea.

Images appeal to one or more of our sense-or, more precisely, they trigger our

imaginative reenactment of sensory experience by rendering feeling and thought in

concrete details related directly to our physical perception of the world. Images may

be visual (something seen), aural (something heard), tactile (something felt), olfactory

(something smelled), or gustatory (something tasted).

Some poems rely almost exclusively on imagery for their meaning. Poets can rely

on images for meaning if the images (not approximate images, but the exact images)

are carefully selected and arranged. The imperative principle in interpreting a poem’s

imagery is to keep in mind the statement; the whole poem helps to determine the

meaning of its parts, and, it turn, each part helps to determine the meaning of the

whole.

We must understand the poem as an organic whole-we must allow the meaning of

each image to come clear to its natural setting of all the other images. And we must
make sure that all the images are included in our interpretation of the poem’s meaning.

With imagery the poet allows life to present itself, and we can hear, see, smell, feel,

and touch experience (Knickerbocker & Reninger, 1963: 358). For example;

Meeting at Night

The gray sea and the long black land;

And the yellow half-moon large and low;

And the startled little waves that leap

In fiery ringlets from their sleep,

As I gain the cove with pushing prow,

And quench its spend F the slushy sand.

Then a mile of warm sea-scented beach;

Three fields to cross till a farm appears;

A tap at the pane, the quick sharp scratch

And the blue spurt of a lighted match,

And the voice less loud, through its joys and fears,

Than the two hearts beating each to each!

Every line in the poem above contains some image, some appeal to the sense: the

gray sea, the long black land, the yellow half-moon, the startled little waves with their

fiery ringlets, the blue spurt of the lighted match-all appeal to our sense of sight and

convey not only shape but also color and motion. The warm sea-scented beach appeals

to the sense of both smell and touch. The pushing prow of the boat on the slushy sand,
 the tap at the pane, the quick scratch of the match, the low speech of the lovers, and

the sound of their hearts beating-all appeal to the sense of hearing. There are several

kinds of figure of Imagery:

a. Visual Imagery

Visual imagery is information which passed through the brain as though

something is being perceived, when nothing is actually happening. Many people are

familiar with the idea of visual imagery; they might think of it as the imagination.

Sometimes, it is possible to muster up a very real scene inside the mind. For example,

one might imagine a sunset on the beach and her the weves, smell the seawed, feel a

breeze, and clearly see the rich colors of the sunset as the sun drops below the horizon.

All of this imagery is going on entirely inside the mind, no matter how real it feels.

This the most frequent type of imagery used to recreate a certain image.

a) The crimson liquid spilled from the neck of the white dove, staining and matting its

pure, white feathers.

b) The shadows crisscrossed the rug while my cat stretched languidly in one of the

patches of sun.

b. Kinesthetic Imagery

Kinesthetic imagery is the imagery produced from an experience that form of movement.

The example of kinesthetic imagery :

a) “The clay oozed between Jeremy’s fingers as he let out a squeal of pure glee.”

b) “Tossing their heads in sprightly dance” (from ‘Daffodils’by W. Wordsworth)

easy to be understood in these days, the carriage dashed through streets and swept

round corners, with women screaming before it, and men clutching each other and

clutching children out of its way. At last, swooping at a street corner by a fountain,

one of its wheels came to a sickening little jolt, and there was a loud city from a

number of voices, and the horses reared and plunged.” ( excerpt from ‘A tale of two

cities’ by Charles Dickens).

c. Auditory Imagery

Auditory imagery is the element of imagery associated with the sense of hearing.

The example of auditory imagery :

a) “…Which has its sounds, familiar, like the roar

Of trees and crack of branches, common

things, But nothing so like beating on a box”

(From’An Old Mans Winter Night’ by Robert Frost)

b) “At the next table a woman stuck here nose in a novel; a collage kid packed at a

laptop.

Overlaying all this, a soundtrack: choo-k-choo-k-choo-k-choo-k-choo-k--the

metronomic rhytm of an Amtrak train rolling down line to California, a sound that

called to mind an old camera real moving frames of images along a linear track,

telling a story.” (excerpt from ‘Riding the Rails’)

d. Organic Imagery

Organic imagery is the imagery that emerged from our minds. Organic imagery can be seen

in the disclosure of feelings such as hunger, thirst, fatigue, drunkenness, etc.

‘It’s when I’m weary of considerations, and life is too much like a

pathless wood.’ From Robert Frosts “Birches”

e. Tactile Imagery

Imagery is directly related to our sense of touch. Tactile imagery can be seen from the

description of feelings such as feeling hot, cold, smooth, rough, and anything that can be felt

to be touched.

For the examples :

a) ‘The bed lines might just as well be ice and the clothes snow. ’From Robert Frost’s

”The Witch of Coons”

b) “When the others went swimming my son said he was going in, too. He pulled his

dripping trunks from the line where the Had hung all thought the shower and wrung

them out. Languidly, and with no thought of going in, I watched him, his hard little

body, skinny and bare, saw him wince slightly as be pulled up around his vitals the

small, soggy ,ice garment. As he buckled the swollen belt, suddenly my groin felt the

chill of death.”From, E.B.White’s,’One More To The Lake’

f. Gustatory Imagery

Gustatory imagery is imagery that portrayed the experience of our sense of taste, a taste of

thing. Things like sweet, bitter, sour, tasteless are some examples of words that indicate

gustatory imagery.

The example is :
 a) “Tumbling through the ocean water after being overtaken by the monstour wave,

Mark unintentionally took a gulp of the briny, bitter mass, causing him to cough and

gag.”

b) “I have eaten the plums that were in the icebox and which you were probably saving

for breakfast

c) Forgive me they were delicious so sweet and so cold” (From the poem ”This is Just

to Say” by William Carlos Williams)

g. Olfactory Imagery

Olfactory imagery is the imagery associated with our sense of smell, a smell of thing.

Things that can be described based on the experience of smell from your nose is an example

of olfactory imagery, such as for example: the smell fragrant, smells fishy, etc.

The example is :

a) “I was awakened by the strong smell of a freshly brewed coffee.”

b) “Gio’s socks, still soaked with sweat from Tuesday’s P.E. class, filled the classroom

with an aroma akin to that of salty, week-old, rotting fish”

2.4.2 Symbol

When there is one thing used to stand for or to represent another thing then it is

called symbol. Symbol is mostly used in the whole part of human life. It also may

be defined as something more than what it is and as a concrete thing that has its

own reality but also stands for some abstraction.

compare by throwing together and the symbols in the poem can be identified and

their meaning made clear by the full context of the poem. In fact, this principle

determines the meaning of all the elements in every poem. It can be stated this way:

the whole poem helps to determine the meaning of its parts, and, in turn, each part

helps to determine the meaning of the whole poem (Knickerbocker & Reninger,

1963: 309).

The symbol is the richest and at the same times the most difficult of the poetic

figures. Both its richness and its difficulty result from its imprecision. Although the

poet may pin down the meaning of a symbol to something fairly definite and

precise, more often the symbol is so general in its meaning that it can suggest a

great variety of specific meaning.

Image, metaphor, and symbol shade into each other and are sometimes difficult

to distinguish. In general, however, an image means only what it is; the figurative

term in a metaphor means something other than what it is; and a symbol means

what it is and something more, too. A symbol, that is, function literally and

figuratively at the same time. If I say that a shaggy brown dog was rubbing its back

against a white picket fence, I am talking about nothing but a dog (and picket fence)

and am therefore presenting an image. If I say, “some dirty dog stole my wallet at

the party,” I am not talking about a dog at all and am therefore using the metaphor.

But if I say, “you can’t teach old dog new tricks,” I am talking not only about dogs

but about living creatures of any species and am therefore speaking symbolically.
 Some symbols are conventional where people agree to accept them as standing

for something other than their literal meanings. The definition of symbol is also

stated by DiYanni by saying that:

Symbol is any object or action that means more than itself, any object or action

that represents something beyond itself. A rose, for example, can represent beauty

or love or transience. A tree may represent a family’s roots and branches. A soaring

bird might stand for freedom. Light might symbolize hope or knowledge or life.

These and other familiar symbols may represent different even opposite things,

depending how they are deployed in a particular poem. Natural symbols like light

and darkness, fire and water can stand for contradictory things. Water, for

examples, which typically symbolizes life (rain, fertility, food, life) can also stand

for death (tempest, hurricanes, floods). And fire, which often indicates destruction,

can represent purgation or purification. The meaning of any symbol whether an

object, an action, or a gesture is controlled by its context. (DiYanni, 2001: 442).

2.4.3 Stanzaic Pattern

When patterns of rhyme and meter are repeated in the development of a poem,

the sections marked by this repetition of form are called stanzas. A stanza is an

arbitrary and regular division of poetry, containing a fixed number of lines. Or we

can, in brief, define that stanza is a recurring pattern of meter and rhyme.

In stanzaic form, the poet writes in a series of stanzas; that is, repeated units

having the same number of lines, the same metrical pattern, and often an identical

rhyme scheme. Stanza is a pattern of lines which usually presents a unit of poetic

experience. If the poem is composed of two or more stanzas, the pattern is generally
 repeated. They also stated that there are many variations, of course, in stanza form,

but they note only the standard forms which appear most frequently in American

and English poetry. Those variations are:

1. Heroic Couplet: two rimed iambic pentameter lines; each couplet is usually a

complete unit. The example:

Hope springs eternal in the human breast:

Man never is, but always to be, blessed.

-Pope, An Essay on Man

2. Ballad Stanza: four-line iambic, alternately tetrameter and trimester, riming

abcb. The example:

Oh, what can ail thee, knight-at-arms,

Alone and palely loitering?

The sedge has withered from the lake,

And no bird sing.

-Keats, La Belle Dame sans Merci

3. The Sonnet: fourteen iambic pentameter lines, grouped variously according the

purpose of the poet. It consists of two main types, they are:

a) The Italian (Petrarchan/ legitimate)

It has two parts: an octet or eight lines, rhyming abbaabba; and a sestet or

six lines, using new rimes, riming, cdcdcd or other combination.

b) The English (Shakespearian)

couplet, riming ababcdcdefefgg.

4. The Spenserian Stanza

It contains nine lines, eight of iambic pentameter, and the last pf iambic

hexameter, riming ababbcbcc.

5. Blank Verse

Blank verse is iambic pentameter verse free from rhyme, the metrical rime

which seems to fit best the natural rhythms of our language.

6. Free Verse (Vers Libre)

Free verse-not to be confused with blank verse-is verse which does not adhere

to any exact metrical pattern. Free verse is non-metrical poetry in which the

basic rhythmic unit is the line, and in which pauses, line breaks, and formal

patterns develop organically from the requirements of the individual poem

rather than from establish poetic forms.

2.4.4 Structure

Barnet states that every poem has its own structure. However, we may find that

the structure is one of these three common sorts:

1 . Repetitive structure

Repetitive structure is especially common in lyrics that are sung where a single

stage of mind is repeated from stanza to stanza so that the stanzas are pretty

much interchangeable.

2. Narrative structure

In this structure there is a sense of advance.

In this type of poem, the speaker argues a case and comes to some sort of

conclusion in the end of poem.

A poem has at least two levels of meaning; the literal and symbolic levels. When a poem

is read for the first time, a certain kinds of sense come through almost immediately. This sense

we shall call the poem’s literal sense or plain meaning. The plain meaning give us the literal fact

of a poem, and with such facts all understanding of a poem begins. Unless the plain sense is

clearly understood before further analysis of the poem begins, the reader is likely to misconstrue

the total meaning of the poem (Knickerbocker & Reninger, 1963:307-308).

2.4.5 Style of language (figure of speech)

A figure of speech is the use of a word or a phrase, which transcends its literal

interpretation. It can be a special repetition, arrangement or omission of words with literal

meaning, or a phrase with a specialized meaning not based on the literal meaning of the words in

it, as in idiom, metaphor, smile, hyperbole, personification, or synecdoche. Figures of speech

often provide emphasis, freshness of expression, or clarity. However, clarity may also suffer

from their use, as any figure of speech introduces an ambiguity between literal and figurative

interpretation. A figure of speech is sometimes called a rhetorical figure or a locution.

There are several kinds of figure of speech that are commonly seen in a poem, namely:

a. Simile

Simile is a figure of speech which is formed from which we make comparisons between a thing

with another thing which is basically similar. The author uses words such comparison: like, as,

etc, to compare these two things.

a) She is sweet like candy.

b) He is like a refiner’s fire.

c) He fights like a lion.

d) He runs like a cheetah.

e) She is fragants like a rose.

f) Gareth is a like bear when he gets angry.

For the example using “As”

a) He runs as fast a lightning.

b) She walks as gracefully as a cat.

c) He was hungry as a lion.

d) Cute as a kitten.

e) As busy as a bee.

f) Eyes a big as dinner

plates. b.Metaphor

Such as simile, metaphor is formed from a comparison of two things have in common, so one

thing can take the place of something else. What distinguishes metaphor with a simile is not the

use of comparison words such as: like, as, etc.

There are some more conventional metaphors we often hear in our daily life :

a) My brothers was boiling mad. (This implies he was to angry.)

b) The assignment was a breeze. (This implies that the assignment was not difficult.)

c) It is going to be clear skies from now on (This implies that clear skies are not a there at

and life is going to be without hardships)

the coming times are going to be hard for him.)

e) Her voice is music to his ears. (This implies that her voice makes him feel happy.)

c.Paradox

Paradox is a figure of speech that shows the contradiction between two things. Paradox is a

picture of contradiction will be a thing (as distinct from reality, with real meaning.)

As Perrine said in his literature, structure, sounds and sense that the paradox is an apparent

contradiction that is nevertheless somehow true (1987-604).

Paradoxes can also take the from of images or other media. For example, M.C.Escher featured

perspective-based paradoxes in many has drawings, with walls that are regarded as floors from

other points of view, and staircases that appear to climb endlessly.

d.Irony

Irony is a figure of speech which features an Opposition of the meaning of the word. There are

three forms of irony "there remains, namely: verbal irony" there remains, dramatic irony "there

remains and the Irony of situation.

a) The verbal irony :

One meaning is stated and different, usually antithetical, meaning is intended. The irony

of a statement often depends on context. If one look out of his window at a rain storm an

remaks to a friend, “Wonderful day, isn’t it?” the contradiction between the facts and the

implied description of them establishes the irony.

b) The dramatic irony

A plot device according to which (a0 the spectators know more than protagonist; (b) the

character reacts in a way contrary to that which appropriate or wise; (c) characters or
 situations are compared or contrasted for ironic effects, such as parody; or (d) there is a

marked contrast between what the character understands about his acts and what the play

demonstrates about them.

c) The situational irony

This is a relatively modern use of the term, and describes a sharp discrepancy between

the expected result in a certain situation.

e.Hyperbole

Hyperbole is a figure of speech that works by giving meaning or describe a thing as excessive.

Hyperboles are exaggerations to create emphasis or effect. As a literary device, hyperbole is

often used in poetry, and is frequently encountered in casual speech. An example of hyperbole is:

“The bag weighed a ton.” Hyperbole makes the point that the bag was very heavy, though it

probably does not weigh a ton.

f.Antithesis

Antithesis is a figure of speech that is visible from two words placed in the opposite sense in one

place.

For example :

a) When there is need of silence, you speak, and when there is need of speech, you are

dumb;

b) When you are present, you wish to be absent, and when absent, you desire to be

present;
 c) In peace you are for war, and in war you long peace;

d) In council you descant on bravery, and in the battle you tremble.

g.Symbol

Symbol intended for a matter that is used to replace other things a broader meaning.

A symbol is an object that represents, stands for, or suggest an idea, visual image, belief, action,

or material entity. Symbols take from of words, sounds, gestures, or visual images and are used

to convey ideas and beliefs. For example, a res octagon may be symbol for “STOP”. On a map, a

picture of a tent might represents a campsite. Numerals are symbols for numbers. Personal names

are symbols representing individuals. A red rose symbolizes love and compassion.

h. Rhyme

Rhyme is defined as a form of repetition of sounds in these lines of poetry. Rhyme is divided

into three types, namely: End Rhyme, median and front rhyme.

i. Rhythm

Rhythm is an intrinsic element of poetry that only comes when a poem was read. Rhythm is a

tone that appears when poetry was sung. For example William Shakespere often used a rhyming

couplet to mark off the end a of a scene in play.

In the performance arts rhythm is the timing of events on a human scale; of musical sound and

silences, of the steps of a dance, or the meter of spoken language and poetry. Rhythm may also

refer to visual presentation, as “timed movement thought space”

j. Meter the rhythm called the meter. Meters can be shaped monometer, dimeter, trimeter,

tetrameter, and pentameter.

k. Allusion
Allusion is a style that uses words or names in the bible that is inserted in the poem with a

specific purpose and reason.

In literature, allusions are used to link concepts that the reader already has knowledge of, with

concepts discussed in the story. In the field of film criticism, a film-maker’s intentionally spoken

visual reference to another film is also called an homage. “Allusion is bound up with a vital and

perennial topic in literary theory, the with a place of authorial intention in interpretation”.

Allusion is an economical device, a figure of speech that used a relatively short space to draw

upon the ready stock of ideas, cultural memes or emotion already associated with a topic. Thuns,

an allusion is understandable only those with prior knowledge of the covert reference in

question, a mark of their cultural literacy.

2.4.6 Extrinsic Elements of poetry

Extrinsic Elements of poetry is a supporting element of poetry that comes from outside

the work of poetry created. Extrinsic Elements of poetry was instrumental in the analysis of a

poem. Without using the approach on the extrinsic elements of the poem, analysts will have

difficulty in determining the reason and purpose of a poem is created. Even understanding the

meaning of a poem can be shifted from what was intended by the author, if the poem is analyzed

in the extrinsic elements only. Some elements of extrinsic poem are like: author biography,

social background, religion, and education of the author, and social circumstances at the time the

poem was made.

In essence, extrinsic element in poetry is no different with extrinsic elements contained in the

other literary works such as prose and drama.

Size of tone in.