Karl Marx`s aberration on class consciousness as reflected in his poem ``The Fiddler`` - USD Repository
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KARL MARX’S ABERRATION ON CLASS CONSCIOUSNESS
AS REFLECTED IN HIS POEM “THE FIDDLER”
A THESIS
Presented as Partial Fulfillment of the Requirements
to Obtain the Sarjana Pendidikan Degree
in English Language Education
By Angela Bayu Pertama Sari
Student Number: 071214130
ENGLISH LANGUAGE EDUCATION STUDY PROGRAM
DEPARTEMENT OF LANGUAGE AND ARTS EDUCATION
KARL MARX’S ABERRATION ON CLASS CONSCIOUSNESS
AS REFLECTED IN HIS POEM “THE FIDDLER”
A THESIS
Presented as Partial Fulfillment of the Requirements
to Obtain the Sarjana Pendidikan Degree
in English Language Education
By Angela Bayu Pertama Sari
Student Number: 071214130
ENGLISH LANGUAGE EDUCATION STUDY PROGRAM
DEPARTEMENT OF LANGUAGE AND ARTS EDUCATION
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A Sarjana Pendidikan Thesis on
KARL MARX’S ABERRATION ON CLASS CONSCIOUSNESS
AS REFLECTED IN HIS POEM “THE FIDDLER”By Angela Bayu Pertama Sari
Student Number: 071214130 Approved by:
Advisor
A Thesis on
KARL MARX’S ABERRATION ON CLASS CONSCIOUSNESS
AS REFLECTED IN HIS POEM “THE FIDDLER”By Angela Bayu Pertama Sari
Student Number: 071214130 Defended before the Broad of Examiners on 9 February 2012 and Declared Acceptable
Broad of Examiners
Chairperson : C. Tutyandari, S.Pd., M.Pd. ___________________ Secretary : Drs. Barli Bram, M.Ed., Ph.D. ___________________ Member : Drs. Ant. Herujiyanto, M.A., Ph.D. ___________________ Member : Ag. Hardi Prasetyo, S.Pd., M.A. ___________________ Member : C. Tutyandari, S.Pd., M.Pd. ___________________
Yogyakarta, 9 February 2012 Faculty of Teachers Training and Education Sanata Dharma University Dean,
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STATEMENT OF WORK’S ORIGINALITY
I honestly declare that this thesis, which I have written, does not contain the works or part of the works of other people, except those cited in the quotations and the references, as a scientific paper should.
Yogyakarta, January 24, 2012 The Writer
Angela Bayu Pertama Sari 071214130 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
LEMBAR PERNYATAAN PERSETUJUAN
PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS
Yang bertanda tangan di bawah ini, saya mahasiswa Sanata Dharma: Nama : Angela Bayu Pertama Sari Nomor Mahasiswa : 071214130
Demi kepentingan ilmu pengetahuan, saya memberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul:
KARL MARX’S ABERRATION ON CLASS CONSCIOUSNESS
AS REFLECTED IN HIS POEM “THE FIDDLER”Beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan kepada Perpustakaan Sanata Dharma hak untuk menyimpan, mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan data, mendistribusikan secara terbatas, dan mempublikasikannya di Internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin dari saya maupun memberikan royalty kepada saya selama tetap mencantumkan nama saya sebagai penulis.
Demikian pernyataan ini saya buat dengan sebenarnya.
Dibuat di Yogyakarta Pada tanggal: 24 Januari 2012 Yang menyatakan
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ABSTRACT
Sari, Angela Bayu Pertama. 2012. Karl Marx’s Aberration on Class
Consciousness as Reflected in His Poem “The Fiddler”. Yogyakarta: English
Education Study Program, Department of Language and Arts Education,
Faculty of Teachers Training and Education, Sanata Dharma University.Class discrimination of the power and the powerless occurs in our society. The power takes control on most aspect of life, while the powerless becomes the object of exploitation. This phenomenon has been identified by experts many years ago. Nevertheless, no one is able to completely stop it since social classes are automatically there.
This study analyzes Karl Marx’s poem “The Fiddler” aiming at examining Karl Marx’s aberration on class consciousness as seen in his poem “The Fiddler”. There are two problems to answer in this study. They are: (1) “what is the literal meaning of Karl Marx’s poem “The Fiddler”?” and (2) “how is Karl Marx’s aberration on class consciousness reflected in his poem “The Fiddler”?”
The primary data of this study is taken from the poem entitled “The Fiddler” and the secondary data are taken from related reference books, journals, articles, and online sources. In order to achieve the objective, the writer uses Marxism approach. The theories applied are literary theory especially that of poetry, review of literal meaning theory, theory of class consciousness, biographical theory and sociological theory.
There are two findings achieved from this study. The first finding is about literal meaning of the poem which describes the fiddler who is having conversation with someone observing his performance. The second finding talks about Karl Marx’s aberration on class consciousness: the poem pictures Karl Marx’s personal conflict dealing with his protest against his class consciousness. He chooses not to follow his class consciousness and helps the proletariat.
It is suggested that future researchers discuss the political aspect of the poem. As for education, the poem “the Fiddler” is recommended as the material to teach Poetry I for the sixth semester students of English Education Program, Sanata Dharma University.
Keywords: aberration, class consciousness, literal meaning, the fiddler
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ABSTRAK
Sari, Angela Bayu Pertama. 2012. Karl Marx’s Aberration on Class
Consciousness as Reflected in His Poem “The Fiddler”. Yogyakarta:
Pendidikan Bahasa Inggris, Jurusan Bahasa dan Seni, Fakultas Keguruan
dan Ilmu Pendidikan, Universitas Sanata Dharma.Perbedaan kelas antara pihak yang berkuasa dan pihak yang tertindas terjadi di masyarakat kita. Pihak yang berkuasa mengontrol hampir semua sisi kehidupan, sedangkan mereka yang tertindas mau tak mau menjadi pihak yang tereksploitasi. Kejadian ini sudah disadari oleh banyak ahli sejak lama. Namun begitu, tak ada satupun yang benar-benar mampu menghentikannya sebab kelas sosial sudah secara otomomatis terbentuk di dalam masyarakat.
Studi ini membahas puisi Karl Marx "The Fiddler" dengan tujuan untuk mengamati sikap Karl Marx yang menyimpang terhadap kesadaran akan kelas seperti yang terlihat dalam puisinya "The Fiddler". Ada dua masalah yang akan dijawab dalam studi ini. Antara lain adalah: (1)
“apa arti harafiah dari puisi Karl Marx
“The Fiddler”?” dan (2) “bagaimana sikap Karl Marx yang menyimpang terhadap kesadaran akan kelas tercermin dalam puisinya “The Fiddler”?”
Data utama dari studi ini diambil dari puisi berjudul "The Fiddler" dan data-data tambahan diambil dari buku referensi terkait, jurnal, artikel, dan sumber online. Dalam mencapai tujuan penelitian ini, penulis menggunakan pendekatan Marxisme. Teori-teori yang diterapkan antara lain teori sastra khususnya mengenai puisi, tinjauan teori arti harafiah, teori kesadaran akan kelas, teori biografi dan teori sosiologi.
Terdapat dua hasil temuan yang didapat dari studi ini. Temuan pertama adalah mengenai makna harafiah dari puisi yang menggambarkan seorang pemain musik biola yang terlibat percakapan dengan orang lain yang mengamati caranya bermain musik. Temuan kedua membahas tindakan Karl Marx yang menyimpang terhadap kesadaran akan kelas: puisi ini menggambarkan konflik pribadi Karl Marx terkait dengan protesnya terhadap kesadaran akan kelas. Dia memilih untuk tidak mengikuti kesadaran kelasnya dan membantu kaum proletar.
Studi ini disarankan bagi peneliti di masa mendatang untuk membahas aspek politik dari puisi “The Fiddler”. Untuk pendidikan, puisi ini disarankan sebagai bahan untuk mengajar matakuliah Puisi I bagi mahasiswa semester 6 program studi Pendidikan Bahasa Inggris, Universitas Sanata Dharma.
Kata-kata kunci: penyimpangan perilaku, kesadaran akan kelas, arti harafiah,
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ACKNOWLEDGEMENTS It is a blessing for me and my family that I finally could finish my thesis.
Therefore, I would like to address my deepest gratitude to Jesus Christ for His love, guidance, and blessing that comes to my life, especially in hard time on finishing this thesis.
I address my grateful respect for Drs. Antonius Herujiyanto, M.A.,
Ph.D. my sponsor who has been willing to guide me finishing my thesis. I really
thank for his time, support, patience and energy in giving me feedback through the process of writing this thesis. I also appreciate Drs. Y.B. Gunawan, M.A. for giving me correction and improvement for my thesis.
My sincere love goes to my beloved parents Maria Goretti Yuniarti and
Vincentius Subari Prihartanto for their love, prayer and motivation so that I
could face all of those troubles in finishing my thesis. I also send my love for Gloly for her pure love that motivates me a lot.
I would like to give my gratitude to Dwi Yulianto Nugroho, S.Pd. and
Susana Tri Cahyani, S.Pd. as my language consultants who are willing to check
and give correction for this thesis. I address my deepest thanks to all my friends:
Bre who always gives support, affection and help in doing this thesis; Popon,
Asti, Rara, Haya, Dei, Achie, Henink, Seto, Yusak, Asep, Wendy, Tommy and
Rian for being nice friends through the wonderful time studying in PBI; Manda,
Ayaz, Gabey and Lita for being my kind companions in struggling finishing this
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My sweet thanks go to Mushroom Squad, Keluarga Rumah Bambu
KKN Kopeng XLII and The Ringin’s Family Biennale Jogja XI for coloring
my life. And not to forget, Rolly for the moments I share with.
Last but not least, I would like to say thanks those whose name I cannot mention one by one for their support and help. May Lord always be with us.
Angela Bayu Pertama Sari
TABLE OF CONTENTS
PageTITLE PAGE ......................................................................................................... i
APPROVAL PAGE .............................................................................................. ii
PAGE OF ACCEPTANCE ................................................................................. iii
STATEMENT OF WORK’S ORIGINALITY ................................................. iv
PERNYATAAN PERSETUJUAN PUBLIKASI ................................................... v
ABSTRACT .......................................................................................................... vi
ABSTRAK ............................................................................................................. vii
ACKNOWLEDGEMENTS .............................................................................. viii
TABLE OF CONTENTS ..................................................................................... x
LIST OF APPENDICES ................................................................................... xiii
CHAPTER I: INTRODUCTION ........................................................................ 1
1.1 Background of the Study ........................................................................ 1
1.2 Objective of the Study ............................................................................ 3
1.3 Problem Formulation .............................................................................. 3
1.4 Benefit of the Study ................................................................................ 3
1.5 Definition of Terms ................................................................................ 4
1.5.1 Aberration ...................................................................................... 4
1.5.2 Class Consciousness ...................................................................... 4
1.5.3 Literal Meaning ............................................................................. 5
1.5.4 The Fiddler..................................................................................... 5
CHAPTER II: REVIEW OF RELATED LITRATURE .................................. 7
2.1 Theory of Literature ................................................................................ 7
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2.1.2.2 Meter ....................................................................................... 9
2.1.2.3 Simile .................................................................................... 10
2.1.2.4 Personification ...................................................................... 11
2.1.2.5 Apostrophe ............................................................................ 11
2.1.2.6 Tone ...................................................................................... 12
2.1.2.7 Symbolism ............................................................................ 13
2.2 Review of Literal Meaning Theory ...................................................... 14
2.3 Review of Music in 1837 ...................................................................... 15
2.4 Biographical Theory ............................................................................. 16
2.5 Sociological Theory .............................................................................. 17
2.6 Theory of Class Consciousness ............................................................ 17
2.7 Marxist Literary Criticism .................................................................... 18
2.8 Context of The Poem ............................................................................ 20
2.8.1 Biography of the Poet .................................................................. 20
2.8.2 Review Socio-Historical of the Poem ......................................... 22
2.9 Theoretical Framework ......................................................................... 23
CHAPTER III: METHODOLOGY .................................................................. 25
3.1 Object of the Study ............................................................................... 25
3.2 Approach of the Study .......................................................................... 26
3.3 Method of the Study ............................................................................. 27
CHAPTER IV: ANALYSIS ............................................................................... 28
4.1 The Analysis of Sound ......................................................................... 28
4.1.1 Rhyme .......................................................................................... 29
4.1.2 Meter ............................................................................................ 33
4.2 The Analysis of Figure of Speech ........................................................ 38
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CHAPTER V: CONCLUSIONS AND SUGGESTIONS ................................ 66
5.1 Conclusions .......................................................................................... 66
5.2 Suggestions ........................................................................................... 67
5.2.1 Suggestions for Future Researchers ............................................ 67
5.2.2 Suggestions for English Teaching ............................................... 68
REFERENCES .................................................................................................... 69
APPENDICES ..................................................................................................... 73
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Appendix 1: Karl Marx’s Poem “The Fiddler” .......................................... 74 Appendix 2: Pictures of Bourgeoisie and Proletariat ................................. 75 Appendix 3: Auto-Biography of Karl Marx ............................................... 76
Appendix 4: References of Literal Meaning “The Fiddler” ....................... 79 Appendix 5: Syllabus of Poetry I ............................................................... 84 Appendix 6: Lesson Plan ............................................................................ 86
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CHAPTER I INTRODUCTION This chapter points out four parts; Background of the Study, Objective of
the Study, Problem Formulation, Benefit of the Study and Definition of Term. The first part, Background of the Study elaborates the reasons why the writer chooses this topic to be discussed in this study. Next, Objective of the Study explains what aspect that the writer wants to achieve. Third, Problem Formulation explicitly states two major issues analyzed in this study. Then, the discussion on how beneficial this study for the public is explained in the following part, namely Benefit of the Study. The last part of this chapter is Definition of Term. It gives clear definition of several terms so that misconception of terms could be avoided.
1.1 Background of the Study
Literature seems to be so unique for it is able to record life in the medium of language. It is according to Frederick (1988), ―Literature is a vital record of what men have seen in life, what they have experience of it, what they have thought and felt about those aspects of it which have the most enduring interest of human beings
‖ (p. 4). That reason then makes the writer interested in discussing literature in this study.
This study focuses on poetry. It is all due to the enjoyment and impression
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2 enjoyment. It carries practical use of language to bring us a sense and perception of life, to widen and sharpen our contacts with existence
‖ (p. 3-4). Moreover, poetry becomes a medium of language which says more than ordinary language does.
In this study, Karl Marx‘s poem entitled ―The Fiddler‖ attracts the writer‘s attention. Further, i t triggers the writer to conduct a study on it. Marx‘s poem
―The Fiddler‖ pictures Marx‘s aberration on his class consciousness. Marx makes his poem be more passionate to be read since he writes his poem in the form of dialogue of two opposing personalities. It becomes reflection of Karl Marx who is protesting against his class consciousness. The poem is served in emotional dialogue so that the reader can get the passion. In details, this poem illustrates Karl Marx‘s class consciousness as a bourgeoisie which puts him to be superior towards proletariat. Nevertheless, Marx commits aberration to his class consciousness by helping the proletariat and bringing them into classless society.
Furthermore, the writer also has another reason on choosing Karl Marx‘s p oem ―The Fiddler‖ as her subject of study. It is all due to the condition of world today which is almost similar to the reality depicted in the poem. Nowadays, the power takes control on most aspect of life, while the powerless becomes the object of exploitation. There are only few of the power who puts concern on the powerless. In this case, the writer proudly says that Karl Marx becomes one of the few, in that period of time.
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3 casualty of the bourgeoisie‘s rule. In his poem ―The Fiddler‖, Karl Marx does not only tell his personal experience, but it also becomes his device to trigger the readers, particularly critical thinkers, to contribute themselves for making classless society.
1.2 Objective of the Study
The objective of this study is to explore Karl Marx‘s aberration on class consciousness as seen in his poem ―The Fiddler‖. The writer tries to explore any elements of the poem in details so that the possible image, dealing with Karl
Marx ‘s aberration on class consciousness reflected in the poem, can be vividly portrayed.
1.3 Problem Formulation
As the base of the following analysis, the writer has formulated two problems. It directs the writer to investigate only particular scope of the study analysis. The formulated problems are stated as follows:
1. What is the literal meaning of Karl Marx‘s poem ―The Fiddler‖?
2. How is Karl Marx‘s aberration on class consciousness reflected in his poem ―The Fiddler‖?
1.4 Benefit of the Study
It is expected that this paper will become one of the information sources
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4 this topic may increase reader‘s motivation to get involve in caring others, especially the oppressed ones. Furthermore, the writer also expects that this paper could guide students who have not been familiar with poetry, to get better understanding about poetry,
Karl Marx‘s poem in particular.
1.5 Definition of Terms
Here are several terms that may lead readers into misconception:
1.5.1 Aberration According to Longman Dictionary of English Language and Culture,
Long (1992) defines aberration as a change of one‘s usual way of thinking or behaving. Furthermore, based on Mc Kean (2005) as stated in The Oxford
American Dictionary, aberration describes a person who believes and behaves in
unusual or unacceptable manner.In this study, Karl Marx‘s aberration reflects unusual way of thinking and behaving of a bourgeoisie. Karl Marx is not behaving like any other bourgeoisie since he protests against an awareness which has been set by his class, which is called class consciousness.
Karl Marx‘s protest against his class consciousness is pictured in his action of helping and fighting for the other class, the proletariat.
1.5.2 Class Consciousness According to Fairchild (1975), class consciousness is defined as an awareness of on e‘s position in certain class. To be more specific, it is awareness
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5 Generally, this awareness is followed with certain attitudes which may be feeling of superiority or inferiority towards other class position (p. 42).
In this study, Karl Marx ‘s class consciousness as a bourgeoisie puts him to be superior toward proletariat. It is all due to the power of bourgeoisie which controls society at that time. Karl Marx who comes from bourgeoisie class may carry arbitrary power toward the proletariat. Moreover, Karl Marx may exploit them brutally in order to get advantage from them since he belongs to the power class.
1.5.3 Literal Meaning Based on The Cambridge Dictionary of Philosophy, Audi (1999) states
―literal meaning is the non-figurative, strict meaning an expression or sentences have in language by virtue of the dictionary meaning of its words and the import of its syntactic constructions
‖ (p. 545). So as, in this study, literal meaning of this poem ―The Fiddler‖, means as the virtue meaning of the poetic words within the poem. The literal me aning of ―The Fiddler‖ portrays a music player, the fiddler, who gets in conversation with a person who is observing his performance.
1.5.4 The Fiddler
According to Zaret, ―The fiddle is a violin played as a folk instrument.‖ Furthermore, Zaret explains that the words ―violin‖ and ―fiddle‖ come from the
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6 Peter Zaret & Sons Violins, that ―the goal of violin playing is beauty, power and mystery. For fiddling, the dominant esthetic is rhythmic energy and mystery. The goal of fiddling is dance- ability.‖
In this study, literarily the words ―The Fiddler‖ refers to Karl Marx as the player of bow string music instrument with the goal of playing for dance ability.
Further, if it is related with the latent meaning of the words, ―The Fiddler‖ refers to a person who controls society with the goal to make bring happiness in the classless society.
CHAPTER II REVIEW OF RELATED LITERATURE This chapter provides review of related literature as the background
knowledge for this study. This chapter consists of elaboration of several theories such as literary theory especially that of poetry, review of literal meaning theory, theory of class consciousness, biographical theory, sociological theory. Besides, some reviews also provided in this chapter, such as: review of music in 1837 and context of the poem. Moreover, Marxism approach is also elaborated in this chapter. At last, this chapter provides theoretical framework which illustrates the contribution of each theories for this study.
2.1 Theory of Literature
This study will mostly talk about poem which becomes the branch of literature. Therefore, in this chapter the writer would like to provide brief theory of literature. Frederick (1998) defined literature as a record of life.
Literature is a vital record of what men have seen in life, what they have experience of it, what they have thought and felt about those aspects of it which have the most enduring interest of human beings. Literature is fundamentally an expression of life through the medium of language. Therefore since literature is expressed through language, one cannot understand it unless he understands the language and socio-cultural background from which it emerges (p. 4).
Furthermore, in language learning literature plays great roles to assist foreign students understand language better. It is stated by Lado (1964), ―one can only learn
8 language well if he deals decisively with its cultural content ‖ (p. 150). Moreover, the benefit of literature in language learning is elaborated further by Rivers (1980), literature enriches student‘s understanding of foreign people by giving them sympathetic insight through the way of life, the way of thinking of the people who speak the language that they learn. Moreover, it also enhances students‘ cultural knowledge through the study of literature (p.7).
To be more specific, literature which is examined in this study is centered on poetry. Perrine (1969) states that poetry carries unique value in realizing life.
It has been regarded as something central to each man‘s existence, something having unique value to the fully realized life, something that he is better off for having and spiritually impoverished without. It carries practical use of language to bring us a sense and perception of life, to widen and sharpen our contacts with existence. Their concern is with experience (p. 3-4).
Furthermore, poem is very close with poet‘s life. According to Bourdette and Cohen (1983), all poems become poet‘s devices of transformation since the poet‘s experience, interests, and concerns; occasionally, becomes the subject of the poem (p. 152-153). In order to support it more, Bliss
(1950) explains, ―poetry conceives poetic creation as a transformation of impression through vital contact with the poet‘s personality and previous experience, into emotional loaded imaginative experience
‖ (p. 396).
2.1.2 Intrinsic Aspects of Poem
Poem pictures reality in words that the poet wrote. However, the meaning of
9 it. It is all according to Barnet, Bermon, and Bruto (1988), ―words have their literal meaning, but they also be used so that something other than literal meaning is implied
‖ (p. 768). In order to seek meaning, other than the literal one, the writer uses several devices as it is explained below:
2.1.2.1 Rhyme
In this study, the writer employs rhyme to see how consistent Marx in the matter of poem‘s sound. According to Abrams and Harpham (2009) in their book A
Glossary of Literary Term,
―rhyme is repetition in the rhyming words, of the last stressed vowel and of all the speech sounds following the vowel ‖ (p. 316). Therefore, the reader enjoys the decorative elements of the poem through the ending of each line. This decorative elements is formed by the repetition of the last sounds.
Rhyme becomes the most powerful elements in the poem. There are several advantages that rhyme brings, according to Frederick (1988) ―rhyme can be a source of inspirations, it pleases most readers because it is interesting and pleasing. Another advantages of rhyme is it s appeal to the reader‘s memory‖ (p. 59). Hence, by applying rhyme into the poem, the poet expects the readers to be pleased when they read the poem. It is dealing with the enjoyment that the poem provides to the readers.
2.1.2.2 Meter
As it is mentioned by Cummings (2006) ―In verse and poetry, meter is a
10 short) syllables in lines of a set length. ‖ Furthermore, Kennedy and Giona (2002) add, in order to be aware of meter in a poem, reader must read it aloud and listen to the poem. Then, scan the line by analyzing the stress and making sense of it.
The stressed syllables are the part where the poet put emphasis on (p. 202).
In details, there are some types of meters, one of them is accentual meter. It is define d by Kennedy and Giona (2002), ―In accentual meter, the poet does not write in feet, as in other meter, but counts stressed syllable. The point of accentual meter is to have the same number of stresses in every line
‖ (p. 203). Then, Kennedy and Giona also make emphasis that old English poetry was written in accentual meter (2002, p.203).
2.1.2.3 Simile
A poet may create two types of writing: literal and figurative. According to Frederick (1988) in the book entitled English Poetry an Introduction to Indonesian
Language,
―literal statements mean exactly what they say; while, figurative statements, in contrast, always have different meaning from the literal one ‖ (p. 36).
Poets usually insert a figurative statement within their poem. Frederick (1988) adds, Utterance becomes figurative when it contains at least one of the figures of speech.
The most familiar types of figures of speech is simile (p. 37).
Murphy (1972) also informs in his book entitled Understanding Unseen, ―When the poet uses simile he makes it plain to the reader that he is using a conscious
11 using certain words: like, as, as though, as if, etc ‖ (p. 22-23). Then, it is supported by
Frederick (1988), a simile employs the words like, as, or to illustrate a resemblance between two unlike object (p. 37).
2.1.2.4 Personification Personification is one of comparison devices. It is another form of metaphor.
Based on Frederick (1988), ―Personification is a figure that bestows human traits on anything non-human. In personification, an inanimate object is described as having human attributes, powers or feelings
‖ (p. 48). In personification, the inmate object is considered to be able to perform as what human does. It gives sense of living to the object addressed by the personification.
In addition, it is defined by Harmon and Holman (2009), personification represents imaginary creatures or things as having human personalities, intelligence and emotions (p. 412). Accordingly, by the occurrence of personification within the poem, the poet tries to presents the object in the poem to be livelier so that the reader can grasp the description of the images more vivid. It is all important, due to the fact that poem is mostly dealing with images described by the poet.
2.1.2.5 Apostrophe
According to Reuben (2011), ―Apostrophe addresses someone absent or something non human as if it was alive and present and could reply to what is being
12 addressing someone or something which is invisible or not commonly spoken to. In an apostrophe, a poet may address on dead or absent person, an abstract person or a spirit. The poet uses apostrophe to express a lofty and serious tone (p. 131).
Moreover, Harmon and Holman (2009), state that apostrophe is a figure of speech in which some abstract quality or nonexistent object is directly addressed as if it was present. It is described that apostrophe associated with deep emotional expression (p.40). Thus, it can be seen that the existence of apostrophe within the poem gives deeper emotional sense for the readers. In addition, it expresses more serious tone since in certain case it addresses spirit, dead and absent person who are not commonly spoken to.
2.1.2.6 Tone
Brooks and Warren (1960), state ―the tone of a poem indicates the speaker‘s attitude toward his subject and toward his audience, and sometimes toward him self‖
(p. 181-182). Nevertheless, Kennedy and Giona (2002), give emphasis that the readers may never know exactly what the poet feels. All the readers need to know is how to feel when they read the poem. The tone is expressed in the choice of certain words instead of others, the illustration of certain details (p. 21).
According to Harmon and Holman (2009) in their book A Handbook of
Literature, it is explained several kinds of tone such as formal, informal, intimate,
solemn, somber, playful, serious, ironic, condescending or many other possible
13 The one who knows exactly the intention attitude of the poem is the poet himself.
Nevertheless, the readers are still being able to enjoy the tone of the poem through the sense of feeling that they possess.
2.1.2.7 Symbolism
Symbolism is well illustrated by Frederick (1988) in English Poetry an
Introduction to Indonesian Students,
―a sign that points to a meaning beyond itself. A literary symbol is a thing (an event, a person, a quality) that functions simultaneously in two ways: as itself and as a sign of something outside itself
‖ (p. 49-50). In order to provide vivid description of what symbolism is, the writer provides elaboration stated by Perrine (1994) in his book Literature; Structure, Sound and Sense:
1. The meaning of literary symbol must be established and supported by the entire context of the story.
2. A symbol may have more than one meaning. This is not to say that it can mean anything we want it to. There is possible meaning that always controlled by the context.
3. To be called a symbol, an item must suggest a meaning different in kind from its literal meaning (p. 214-215).
The most important of it all, Frederick (1988) says, ―Reading poem is not solving problems or puzzles. Poets, moreover, do not hide the meaning behind symbolism; instead, they use symbols to present their poems concretely ‖ (p. 49).
Thus, the use of symbol within the poem may illuminate reader‘s mind of what the poet intends to say. Symbolism gives concrete description of what the poem is all about, instead of making the poem into complicated puzzle.
14
2.2 Review of Literal Meaning Theory
In order to see literal meaning of a poem, the writer makes use of grammatical rules, structure and it is completed by definitions from the dictionary. It is all according to Barry (2009), literal meaning analyses the very roots of language and it reflects grammar and sentence structure (p. 205). Moreover, literal meaning is defined by Audi (1999),
―literal meaning is the non-figurative, strict meaning an expression or sentence has in language by virtue of the dictionary meaning of its words and the impor t of its syntactic construction‖ (p. 545).
In details, some experts provide explanation on how significant textual description in a text is. As it is suggested by Traugott and Pratt (1980), literal analysis can give us a point of view, a basic way of looking a text that will help us develop a consistent analysis. In addition, literal analysis can be the foundation for further analysis, by recognize the systematic regularities in the language of a text (p. 20).
Nevertheless, there is some distinction between analyzing text and language. Since texts are the primary data for all literary criticism, it is just needed to be generalized. It is all due to the main goal of most literary criticism which points out on seeing the deeper meaning of text. Based on Traugott and Pratt (1980), ―Generalization about text‘s semantic structure resembles those that constitute the grammar of a language
‖ (p. 24).
15
2.3 Review of Music in 1837
Marx has his own view on seeing art. According to Kurniawan (2002), ―The thinking of Karl Marx can be concluded that art must serve the revolution and the needs of the people. Art presents to revolt against the domination
‖ (p.
th th xvi). Classicism is the periods of the early 18 century to the late 18 century.
According to Miller (1960), ―During classical periods, a new type of melody is developed. It has an individual and compact character, and it is often folk-like in its clarity and simplicity ‖ (p. 114).
One of the folk music instruments is fiddle. Fiddle is another name of violin. Both fiddle and violin is classified into a bow-string music instrument.
They have the same basic instrument. However, technique of playing fiddle and violin is different, along with its purpose to the hearer. The most prominent distinction is that fiddle is played in folk music, while violin is played in classical music. Hence, the goal of playing each is also different. It is stated in websites
Peter Zaret & Sons Violins
that ―the goal of violin playing is beauty, power and mystery. For fiddling, the dominant esthetic is rhythmic energy and mystery. The goal of fiddling is dance- ability.‖ The etymological meaning of fiddle remains uncertain. However, it is explained by Tudorancea (2010), ―Fiddle is natively Germanic. A native Germanic ancestor of fiddle may even be the ancestor of the early Romance form of violin.‖
16 Discussing further in the physical characteristic of fiddle, the writer finds that the fiddle is unique and rich of philosophical value. It is illustrated with the strings of fiddle which has no frets or dividing part among the position of tone. Unlike guitar, piano, flute, harmonica or any other musical melody instrument in which the tone are vividly separated, fiddle similar with violin has no physical separator. On the consequence, it is stated in the writing About the Violin, Belknap (2011),
―the player must achieve the correct position from skill alone, or else the instrument will sound out of tune. Violin players practice long hours partly to train their fingers to land in the right places as it is played.‖
2.4 Biographical Theory
The most influencing aspect of work of art is its creator. Hence, explanations of the personality and the life of the creator or author are so important. The explanation of the creator is what usually called by biography. Biography is a material to support systematic study of the poetic process. Biography can be taken from series of public documentation, birth registers, the evidence of work, marriage and so on (Wellek and Warren, 1956, p. 75-76).
According to Theory of Literature written by Wellek and Warren (1956), ―Only by a perversion of the biographical method could the most inmate and frequently the most casual documents of an author‘s life become the central study while the actual poem were interpreted in the light of the document‖ (p.78).
17 and use of every work of art needs careful examination. It is all because the work of art is not a document for biography (p. 78-79).
2.5 Sociological Theory
Literature represents life and life is in broad measure; in some case, a social reality becomes objects of literary imitation. The connection of literature and society becomes the analysis of works of literature as social document; then, it is considered to be the pictures of social reality (Wellek and Warren, 1956, p. 94, 102).
It is informed by Wellek and Warren (1956), ―the author should express the life of a given time completely. It becomes the representation of the author‘s age society. Therefore, the author should be aware of specific social situations‖ (p. 95).