The Analysis of Sound

28

CHAPTER IV ANALYSIS

This chapter becomes the core of this study for it deconstructs the object of this research, that is poem of Karl Marx entitled ―The Fiddler‖. The deconstruction alters The Fiddler‘s poetic words into reality. In order to do so, the writer applies Marxism approach as a device to analyze the poem. Since Marxism is such a holistic approach, it will be supported by other theories. This chapter is divided into three main analyses. The first is about intrinsic analysis of poem which covers the analysis of sound: rhyme and meter; the analysis of figure of speech and the analysis of tone. The second analysis examines literal meaning of the poem which becomes the foundation of the following analysis. Next, the third analysis explores Karl Marx‘s aberration on class consciousness as reflected in the poem.

4.1 The Analysis of Sound

In this study, the analysis of ―The Fiddler‖ deals with two matters, which cover on how the poem sounds and how the poem is written. The first analysis, which is dealing with sound, discusses on several elements of sound which occurs in this poem. In analyzing a poem, elements of sound is so important since a poem is also dealing with recital. Hence, for analyzing the sound, the writer employs devices of sound which covers rhyme and meter. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 29 The first element that is rhyme, analyses on the repetition of the rhyming words in the last part of each lines. Rhyme serves the readers on the sound patterns that the poet uses to make source of inspiration. Then, the second element that is meter, discusses on recognizing the stressed and unstressed syllable in each lines. In meter, the stressed syllables indicate the parts in which the poet puts emphasis on. Generally, both of those elements of sound play important role in showing the readers on how decorative and meaningful of the poem when it is recited. 4.1.1 Rhyme As it is sated by A Glossary of Literary Term, Abrams and Harpham 2009, ―rhyme is repetition in the rhyming words, of the last stressed vowel and of all the speech sounds following the vowel ‖ p. 316. Thus, the writer examines the last stress vowel in each line. The pattern that appears in each stanza is indicating the rhyme of the poem. The analysis of rhyme in the poem ―The Fiddler‖ is elaborated as follows: 1 st stanza The Fiddler saws the strings, His light brown hair he tosses and flings, He carries a sabre at his side, He wears a pleated habit wide. According to the 1 st stanza, it can be seen that the rhyme is: a-a-b-b. strings is pronounced as str ɪ ŋs flings is pronounced as fl ɪ ŋs PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 30 side is pronounced as sa ɪ d wide is pronounced as wa ɪ d 2 nd stanza Fiddler, why that frantic sound? Why do you gaze so wildly round? Why leaps your blood, like the surging sea? What drives your bow so desperately? Having examined the stanza above, it is seen that the rhyme is:a-a-b-b sound is pronounced as sa ʊ nd round is pronounced as ra ʊ nd sea is pronounced as s i: desperately is pronounced as ’desp ə r ə tl ɪ 3 rd stanza Why do I fiddle? Or the wild waves roar? That they might pound the rocky shore, That eye be blinded, that bosom swell, That Soul‘s cry carry down to Hell. The writer analyze that the rhyme of the stanza above is: a-a-b-b. roar is pronounced as r ɔ: r shore is pronounced as ʃɔ: r swell is pronounced as swel Hell is pronounced as hel 4 th stanza Fiddler, with scorn you rend your heart. A radiant God lent you your art, PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 31 To dazzle with waves of melody, To soar to the star-dance in the sky. Having looked to the stanza above, the writer examines that the rhyming is a- a-b-b. heart is pronounced as h ɔ:rt art is pronounced as ɔ: rt melody is pronounced as ’mel ə d ɪ sky is pronounced as ska ɪ 5 th stanza How so I plunge, plunge without fail My blood-black sabre into your soul. That art God neither wants nor wists, It leaps to the brain from Hell‘s black mists. It can be obviously noticed that the stanza above possesses irregular rhyming. It is a-b-c-c. fail is pronounced as fe ɪ l soul is pronounced as so ʊ l wists is pronounced as w ɪ sts mists is pronounced as m ɪ sts Although 5 th stanza is also composed of irregular rhyming, it is not clearly sound because the different endings persist in the beginning of the stanza, then it is closed by same rhyming. The last two lines camouflage the irregularity ending in the beginning lines. Hence, the peculiarity in this stanza is not distinctly sounded. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 32 Moreover, those different ending just carries effect on the decorative aspect in the hearing sense of the reader. 6 th stanza Till heart‘s bewitched, till senses reel: With Satan I have struck my deal. He chalks the signs, beats time for me, I play the death march fast and free. The writer observes that 6 th stanza is well structured with the same rhyming. It pleases the ear with a-a-b-b rhyming. reel is pronounced as r ɪ ə l deal is pronounced as d ɪ ə l me is pronounced as m i: free is pronounced as fr i: 7 th stanza I must play dark, I must play light, Till bowstrings break my heart outright. This stanza is only consists of two lines with the same rhyming a-a. light is pronounced as la ɪ t outright is pronounced as ’a ʊ tra ɪ t Actually, the 7 th stanza contributes as the closing stanza. It is because the narrative line is ended in that stanza. Moreover, the following stanza, 8 th stanza, is the repetition of the 1 st stanza. 8 th stanza The Fiddler saws the strings, PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 33 His light brown hair he tosses and flings. He carries a sabre at his side, He wears a pleated habit wide. This stanza is the repetition of the 1 st stanza with the same structure rhyming. This is the last stanza of this poem. Having analyzed rhyming pattern in the poem ―The Fiddler‖, the writer sees that Karl Marx uses consistent rhyming in his poem ―The Fiddler‖ which is a-a-b-b. In consequence as it is said by Frederick, those rhyming please the hearer when they recite the poem for it is pleasing and interesting. 1988: 59 However, in 5 th stanza the writer sees an irregular rhyming occurs within the poem. It signifies that the rhyming is a-b-c-c. It only gives effects on the decorative aspect of the poem. 4.1.2 Meter Meter is dealing with the ri sing and falling of poem‘s sound. As it is stated by Kennedy and Giona 2002, in order to be aware of meter, readers must read it aloud and listen to the poem. Then, they have to scan the line and analyze which syllable is stressed. Thus, in analyzing the meter of ―The Fiddler‖, the writer reads the poem aloud. Then, the writer scans the stressed syllable and makes sense of it. Therefore, the important parts of poem that the poet tries to emphasize on are reveal in this discussion p. 202. In this discussion, the writer based the analysis on accented meter. According to Kennedy and Giona 2002, ―accented syllable counts only on PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 34 the stressed syllable in every line ‖ p. 203. Here is the analysis of meter in the poem ―The Fiddler‖. The stressed syllables are marked with . 1 st stanza The Fiddler saws the strings, 1 His light brown hair he tosses and flings. 2 He carries a sabre at his side, 3 He wears a pleated habit wide. 4 Based on the analysis above, the writer sees that irregular accented meter occurs in this stanza. This stanza has no same number of stressed syllables in each line. However, 1 st and 3 rd lines have same number of stressed syllable which is three syllables. Then, 2 nd and 4 th lines have the same number of syllable which is four syllables. In the 1 st line the stressed syllables are the words Fiddler, saws and strings. The stressed syllables in the 2 nd line are light, hair, tosses and flings. Then, in the 3 rd line are carries, sabre, side. And at the last line, the words wears, pleated, habit and wide are being stressed. Those stressed syllable are the words which the poet puts emphasis on. 2 nd stanza Fiddler, why that frantic sound? 5 Why do you gaze so wildly round? 6 Why leaps your blood, like the surging sea? 7 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 35 What drives your bow so desperately? 8 This stanza consists of regular accented meter. There are four stressed syllables occur in each line. In 5 th line, the poet tries to make emphasis on words: Fiddler, why, frantic and sound. Then, in 6 th line, the words which are emphasized are why, gaze, wildly and round. Next, the words leaps, blood, surging and sea are emphasized in 7 th line. After next, the poets emphasizes on words drives, bow, desperately in the last line of this stanza. 3 rd stanza Why do I fiddle? Or the wild waves roar? 9 That they might pound the rocky shore, 10 That eye be blinded, that bosom swell, 11 That Soul‘s cry carry down to Hell. 12 Regular accented meter is then occurs again in this stanza. Each line consists of four stressed syllables. In 9 th line the poet puts stress on the words why, fiddle, wild and roar. In line 10, the words they, pound, rocky and shore are stressed. Afterwards, the words eye, blinded, bosom and swell are emphasized in line 11. And at the last line, the poet puts emphasis on the words Soul’s, cry, carry and Hell. 4 th stanza Fiddler, with scorn you rend your heart. 13 A radiant God lent you your art, 14 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 36 To dazzle with waves of melody, 15 To soar to the star-dance in the sky. 16 In this 4 th stanza, irregular accented meter occurs here. All line consist of four stressed syllables, except 3 rd line. In line 13, the poet puts emphasis on words Fiddler, scorn, rend and heart. Then in line 14, stressed syllables are placed in words radiant, God, lent and art. Afterwards, the words dazzle, waves and melody are stressed in line 15. At the end of this stanza, the poet emphasizes on words soar, star, dance and sky. 5 th stanza How so I plunge, plunge without fail 17 My blood-black sabre into your soul. 18 That art God neither wants nor wists, 19 It leaps to the brain from Hell‘s black mists. 20 This stanza consists of regular accented meter with four stressed syllables in each line. In line 17, the poet points on words how, so, plunge and fail. Then in line 18, the words such as blood, black, sabre and soul are given stress. Next, in 19 th line, the poet gives stress on words art, God, wants and wists. Further, line 20 consists of four stressed syllable, which are leaps, brain, Hell’s and mists. 6 th stanza Till heart‘s bewitched, till senses reel: 21 With Satan I have struck my deal. 22 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 37 He chalks the signs, beats time for me, 23 I play the death march fast and free. 24 Regular accented meter is indentified in this stanza. Four stressed syllables occur in each line. In line 21, the poet points on the words heart’s, bewitched, senses and reel. In line 22, the words Satan, I, struck and deal are stressed. Then, in line 23, the poet emphasizes on words chalks, signs, beats and time. After that, stressed syllables occur in words play, death, fast and free. 7 th stanza I must play dark, I must play light, 25 Till bowstrings break my heart outright. 26 This stanza only consists of two lines and regular accented meter persists there. In line 25 the poet points on the words play, dark, play and light. Then, in 26 th line the emphasis are put on the words bowstrings, break, heart and outright. The last stanza of this poem becomes the repetition of the first stanza. It has exactly the same construction with the first stanza. Finally, having analyzed all of those stanzas, the writer sees metrical pattern does not fixedly occurs in poem ―The Fiddler‖. Moreover, rhyming sound also is not fixedly composed. Thus, poem ―The Fiddler‖ is indicated to be free verse poem. It is all according to Maree Long 2006, ―free verse poem is composed of either rhymed or unrhymed lines that have no set fixed metrical pattern. PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 38

4.2 The Analysis of Figure of Speech