Review of Related Studies

and therefore it does not include in the literary verbal evocations of music. As can be seen above, verbal music is placed in the literary verbal evocation of music. According to Scher, there are two basic types of verbal music, re- presentation and presentation verbal music: When the poet draws on direct musical experience andor a knowledge of the score as his source we may speak of re-presentation of music in words: he proceeds to describe either a piece of music which he himself identifies or which is identifiable through inference. . . . Poetic imagination alone, inspired by music in general, serves as the source of the second type of verbal music; and it involves direct presentation of fictitious music in words: the poet creates a verbal piece of music, to which no composition corresponds. Scher, 1970: 152-153 From that statement, there can be re-presentation and presentation verbal music in a work of literature. The re-presentational verbal music occurred when the author uses a description of existing musical composition. While presentational verbal music occurred when no existing musical composition is used, or in other words the author creates a „verbal piece of music‟. What makes verbal music different with other elements of literature, Scher stated that there is something called „retarding effect.‟ A definite retarding effect on the narrative movement in a given work emerges as a characteristic feature of prose passages of verbal music. In context the result of such retardation consists in the creation of a literally static moment which tends to arrest and suspend the narrative flow for the duration of the verbal evocation. This moment effects a temporary rest in the progressing, horizontal sequence of the narrated events. In fact, within the confines of the particular instance, the horizontal narrative sequence tends to slow down to a vertical standstill and assume spatial dimensions, suggesting a semblance of literary and musical space combined. Scher, 1970: 155 The retarding effects are a result of the expression of music in the medium of literature that creates an impression of slow-motion as the progressive event of the music is temporarily stopped for the narrative of the verbal evocation. Thus, the retarding effect makes the author able to insert various elements in the verbal music including past and future events and also symbols. Scher also stated that the distinction of retarding effects of verbal music from the verbal description of other arts is that there is a progressive movement in retardation. ...the chief distinguishing trait might be that the created feeling of spatiality mingles simultaneously with a definite impression of progressive movement. Simultaneity, i.e., the momentary fusion of movement in musical space horizontality and standstill in narrative time verticality, may be said to provide a linguistic framework which lends itself more readily to symbolic representation than the other constituents of narration capable of retardation. Scher, 1970: 156 The statement implying that verbal music works horizontally and vertically will be the basis of the structural analysis of the verbal music. The horizontal analysis features the progressive events of the verbal music and the vertical analysis features the verbal evocations of the verbal music.

2. Review on Metaphor and Metonymy in Structural Analysis

The theory on metaphor and metonymy is used in order to search the structural relations of units in the narrative. Concerning metaphor and metonymy in structural analysis, Roman Jakobson also had studied the elements earlier as stated by Robert Detweiler: The extremely important distinction between metaphor and metonymy was developed by Roman Jakobson. In the formulation of the various kinds of linguistic components phoneme, morpheme, senteme, etc, the potential units that can fit a particular position are selected according to the principle of similarity or metaphor, while the order of the units chosen is determined by the principle of contiguity or metonymy.” Detweiler. 1978: 23 From the statement, it can be concluded that the metaphor and metonymy analysis can cover various kinds of linguistic component. The metaphoric relation of a unit is chosen based on the similarity and the metonymic relation of a unit is chosen based on the contiguity or the order of a unit. This is also stated in the study of metaphor and metonymy in Shmuel Yosef Agnon‟s A Guest for The Night by Naomi B. Sokoloff: Roman Jakobsons now classic distinction between metaphor and metonymy defines two primary modes of linguistic thought: on the one hand relations of similarity and dissimilarity, and on the other relations of contiguity or, we might say, dependence and independence. Though they find their most condensed expression in the tropes metaphor and metonymy, these same principles govern phonemic, lexical, and phraseological levels of language, and they operate as well in larger segments of discourse. A piece of fiction or poetry, for example, may develop along lines of association by likeness or through links of sequence and consequence. Sokoloff, 1984:97 It is stated that the work of fiction is developed by association by likeness or by links of sequence and consequence. This principle is used in the analysis of each verbal music. The analysis of metaphor and metonymy is also able to connect the different parts of a narrative, although those two parts seems disconnected. Therefore, the analysis of metaphor and metonymy suits this study that wants to search the relations of two parts of the story, the revival meeting and the jazz performance. It encourages the reader to search for parallels between disjoint segments of narrative and so to make sense out of other-wise perplexing and seemingly incoherent texts. Sokoloff, 1984:99