Figure Of Speech And Imagery Analysis On The Beatles And Scorpions Lyrics:Imagine,Give Peace a Chance,Wind of Chnge,Under the Same Sun

FIGURE OF SPEECH AND IMAGERY ANALYSIS ON THE BEATLES AND SCORPIONS LYRICS:

Imagine, Give Peace a Chance, Wind of Change, Under the Same Sun

A Thesis

Submitted to Letters and Humanities Faculty in Partial Fulfillment of the Requirements for

the S 1 Degree

Syafrianto. SM NIM. 102024574574

ENGLISH LETTERS DEPARTMENT

LETTERS AND HUMANITIES FACULTY

STATE ISLAMIC UNIVERSITY

“SYARIF HIDAYATULLAH”

JAKARTA

2008

ABSTRACT

Syafrianto. SM, Figure of Speech and Imagery Analysis on the Beatles and Scorpions Lyrics: Imagine, Give Peace a Chance, Wind of Change, Under the Same Sun. Thesis. Jakarta: Strata Degree (S1), Letters and Humanities Faculty, State Islamic University “Syarif Hidayatullah” Jakarta, September 18, 2008.

The writer studied four lyrics as the object of research: Imagine, Give Peace a Chance, Wind of Change, Under the Same Sun. This research is focused on analyzing the figure of speech and imagery of the lyrics by using the descriptive qualitative method and structuralism approach. This research aimed to know the imagery and figures of speech in those lyrics and how they construct the concept of peace.

Overall, the concept of peace proposed by the four of these lyrics is the situation without war and the people could be very close like brother that symbolizes the intimacy situation among them.

DECLARATION

I hereby declare that this submission in my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgement has been made in the text.

Jakarta, September 18, 2008

ACKNOWLEDGMENT

ﻢﺴﺑ

ا

ﷲ

ﻦﻤﺣﺮﻟا

ﻢﻴﺣﺮﻟا

In The Name of Allah, Most Gracious Most Merciful

All praises be to Allah the Lord of the world who gives His guidance in completing this thesis. Peace and salutation be upon our prophet Muhammad, SAW, and his family, friends and adherent.

First of all, the writer would like to express thanks you very much to his beloved parent Syafei SN and Mariana HZ and all family mak Ejo H. Siti Sinoriah, the oldest sister and brothers Ernawati and her husband Miswandi, Syafriadi and his wife and Sumardi, S. Ag., who contributed their help and concern in the preparation of this thesis. Throughout his life, they have been and still are ever ready to assist him in his various endeavors – for which it’s truly grateful.

The warm regard goes to his nieces Gusmi wena Selti, Indri Angi Selti, Nayla Zahratunnisa Syafren and nephews Fakhira Selti, Ahmad Sauqi Syafren and an additional special thanks goes to XanGKurO for encouraging him to finish this thesis immediately.

The writer wishes to express his great appreciation to his advisor Inayatul Chusna, M. Hum., who has given him the assistances to make this thesis possible. Then, the writer wishes to record his deep gratitude to the following people for their willing guidance, generous helps and the privileges they extended to him.

1. Dr. Abdul. Chair, M.A., the Dean of Letters and Humanities Faculty State Islamic University “Syarif Hidayatullah” Jakarta.

2. Dr. Muhammad Farkhan, M. Pd., the Head of English Letters Department State Islamic University “Syarif Hidayatullah” Jakarta.

3. Drs. Asep Saefuddin, M. Pd, the Secretary of English Letters Department State Islamic University “Syarif Hidayatullah” Jakarta

4. All lecturers in English Letters Department for having taught and educated him during his study at English Letters Department State Islamic University “Syarif Hidayatullah” Jakarta.

5. Dhuha Hadiansyah, S.S., for editing his thesis grammar.

6. All his friends who learnt together in English Letters Department State Islamic University “Syarif Hidayatullah” Jakarta. Special to his class mates (Djars, Abdurrosid, Abdul hakim, Agus Saefurrohman, Anton Rustanto, Darojatin, Dindin, Fauziyah Imma, Galih, Ihsan Wahyudi, Jamaluddin, k’Arie, Lia Octarina, Neng Titin, Neneng Mardiana, Nurhayati, Meonk-Fiche, Masrofah, M.Iqbal, M.Zakky, M.Zaid Teh-Diah, Titik Atika, Tuti Fauziyah, Putra Fajar, Rokani Darsyah, Saifi, Sandi Adrian, Saimah, Yusmiarni, Vie and Med, Yanuar Arifin, Yaman Q-moy and Gadis, Windi Astuti, Zakiyah Al-Mubarokah), Aceve, Ahmad Rifai, Budi Prayogi, Chiko, Erlangga, Lia Amelia, Ode, Mudhofar, and the many other friends are too numerous to name.

8. All members of Sanggar Altar, Teater Shahid, Cremona, Taman Suropati Chamber and Siklus Situ.

9. Mbak-Uliel, Bang-Echo, Awie and Attics, Hayyu Citra Herdana and Lung, Agung Lan She Lung for having lent him their computers.

10.Adun, A’Isol, Bang-Jimmy, eLy, de-Finny, Neneng Hasani, Nurlaela, k’Eot, Miss.Siti, Mr.James, Dede Juhanda for having given him their enthusiasm during accomplishing this thesis.

11.Mustika Dendy, Duile-Nyimas Saung Wati and Khozach-Zaky Mubarok for helping and documenting his courses.

May Allah blesses them all and give them more then what they have given to the writer. Hopefully, this this thesis gives benefits for all people who read it.

Jakarta, September 18, 2008

TABLE OF CONTENTS

ABSTRACT... i

APPROVAL SHEET... ii

LEGALIZATION... iii

DECLARATION... iv

ACKNOWLEDGMENT... v

TABLE OF CONTENT... vii

CHAPTER I INTRODUCTION... 1

A. Background of the Study... 1

B. Focus of the Study... 3

C. Research Question... 3

D. Significance of the Research... 4

E. The Methodology of Research... 4

1. The Purpose of Research... 4

2. The method of the research... 4

3. The Technique of Data Analysis... 4

4. The unit of data Analysis... 5

5. Time and place of the Research... 5

CHAPTER II THEORETICAL FRAMEWORK... 6

A. Concept of peace... 6

1. Introduction... 6

2. Some Concept of Peace Perspective... 8

a. Takeshi Ishida ... 8

b. Anatol Rapaport ... 9

c. Rudolph Rummel ... 10

d. Gunnar Johnson ... 11

B. Figure of Speech... 13

1. Simile ... 13

2. Metaphor... 14

3. Personification... 15

4. Apostrophe ... 15

5. Metonymy ... 16

6. Symbol... 16

7. Paradox ... 17

8. Synecdoche... 18

9. Hyperbole and Overstatement... 18

10.Allusion ... 19

C. Imagery ... 20

1. Visual Imagery... 21

2. Auditory Imagery... 21

3. Olfactory Imagery... 22

4. Gustatory Imagery... 23

5. Tactile Imagery... 23

6. Organic Imagery... 23

7. Kinesthetic Imagery... 24

D. Technique of Imagery Development... 24

1. Literal Imagery... 24

2. Figurative Imagery... 26

CHAPTER III ANALISIS OF LYRICS... 27

A. Data Description... 27

B. Analysis of Lyrics... 32

1. Imagine ... 32

2. Give Peace a Chance ... 35

3. Wind of Change ... 42

4. Under the Same Sun ... 48

C. Concept of Peace... 52

CHAPTER IV CONCLUSION AND SUGGESTION... 56

Conclusion... 56

BIBLIOGRAFHY... 60

APPENDIXS... 63

A. Vietnam War... 63

B. Cold War In Berlin... 65

C. The Beatles Biography... 67

CHAPTER I INTRODUCTION

A. Background of the Study

According to the book A Pursuit of Poetry by Robert Hillyer, the poetry is classified to three forms; epic, dramatic and lyric. Epic is understood as poetry with a long sustained poem in one form of verse in the classics, dactylic hexameter in which well known by blank verse dealing with a series of heroic events, and cantering around a hero or heroes. Dramatic is a simple form of verse in which poetic drama is cast. Lyric is the most widely inclusive of all, originally referred, as its name implies, to a song-poem to be sung to the accompaniment of lyre. The pure lyric is still a poem of musical intension that could appropriately be set to music.1

E. B. Reed also proposes the definition of lyric within the book A Grammar Literary Criticism by Lawrence Sargent Hall, that “all songs, all poems following classic lyric form; all short poems expressing the writers mood and feeling in rhythm that suggest music were to be considered as lyrics.”2

Based on both definitions above, the writer can conclude that Imagine, Give Peace a Chance, Wind of Change and Under the Same Sun could be considered as lyrics because they are song poem which is sung and possesses the elements of poems have.

1

Robert Hillyar, In Pursuit of Poetry (New York: Mc Crew-Hill Book Company, 1960), p. 116. 2

Lawrence Sargent Hall, A Grammar of Literary Criticism (New York: The Macmillan Company, 1965), p. 119.

As a literary work, lyric is also used to deliver critics of the speakers. In the causality contact, a literary work is influenced by experience of the speakers, and it is seen as a reflection of social structure where the speakers produce their literary works. According to Georg Lukacs, a literary work may have a role as reflection of its society situation (Wiederspiegelung), which has form such as translation or copy (Abbild) of social structure or imitation (Nachahmung) of it society.3 It could be understood that all literary works including poetry (lyric) is not born from the empty culture. By mean of that, all literary works are a reflection of social structure where the speakers produce their literary works.

The explanation above is closely related to the lyrics that would be analyzed. Imagine, Give Peace a Chance, Wind of Change, and Under the Same Sun are lyrics that reflect the social condition, critics and hopes of the speakers to the social condition. Through the literary language4 that is full of connotative meaning, the four lyrics deliver the reflection of the social condition, critics and hopes of the speakers. Categorized as poems, those lyrics consist of intrinsic elements that poems have such

3

Ignas Kleden, Sasrtra Indonesia dalam Enam Pertanyaan: Esai-esai Sastra dan Budaya (Jakarta: Grafitti, 2004), p. 9.

4

A literary language is a register (in linguistics, a register is a subset of a language used for a particular purpose or in a particular social setting) of a language that is used in literary writing. The difference between literary and non-literary vernacula forms is more marked in some languages than in others. Where there is a strong divergence, the language is said to exhibit diglossia. Anonymous, Literary Language. Accessed on October 09, 2007. http://en.wikipedia.org/wiki/Literary_language.

This statement could be supported by definition proposed by Herman J. Waluyo “…literary language in poetry has characteristic of connotative that’s many possibility of meaning like symbol and figurative of speech...” (Herman J. Waluyo, Teory dan Apresiasi Puisi (Jakarta: Erlangga, 1995), p. 28)

Through the statement above, we can conclude that the literary language is language, which has characteristic of connotative having many possibilities of meaning like symbol and figurative of speech.

as figure of speech and imagery used by the speakers to achieve the goal of reflecting the social condition, critics and hopes of the speaker that is the peace situation.

The analysis of these elements aimed to know what figure of speech and imagery used in those lyrics and what concept of peace do the figure of speech and imagery of those lyrics construct as the research finding of this thesis.

B. Focus of the Study

The writer focuses the research only in analyzing the imagery and figure of speech and that used in the Beatles songs (Imagine, Give Peace a Chance) and Scorpion song (Wind of Change, Under the Same Sun).

C. Research Question

Based on the background of the study above, the writer would like to discuss the problems of the thesis on title “Figure of Speech and Imagery Analysis on the Beatles and Scorpions Lyrics: Imagine, Give Peace a Chance, Wind of Change, Under the Same Sun within two questions:

1. What are the imageries and figures of speech used in Beatles lyrics (Imagine, Give Peace a Chance) and Scorpions lyrics (Wind of Change, Under the Same Sun)?

2. What concept of peace do the figure of speech and imagery of those lyrics construct?

D. Significance of the Research

The writer hopes that this research can be useful to the readers in getting information and to be more acquainted with The Beatles and Scorpion especially for those who want to analyze their lyrics.

E. The Methodology of the Research 1. The Purpose of Research

Regarding with the two questions above; the thesis has two purposes of research:

a. To know the imagery and figures of speech at those lyrics.

b. To know how the imagery and figures of speech construct the concept peace in the lyric.

2. The Method of the Research

The method that is used in this research is descriptive qualitative analysis by using the structuralism approaches.

3. The Technique of Data Analysis

The writer analyzes the figures of speech and imagery of these lyrics, explains, appreciates, and appraises them critically by using descriptive qualitative analysis and structuralism approach to find the concept of peace considered as the research finding of this thesis.

4. The Unit of Data Analysis

The units of data analysis in this research are Imagine; Give Peace a Chance, Wind of Change and Under the Same Sun’s Lyrics.

5. Time and Place of the Research

This research is accomplished in semester thirteen. All the material are taken from the libraries: Letters and Humanities library, State Islamic University library, University of Indonesia library, British Council library and the other libraries and internet to get more references and information related to the research.

CHAPTER II

THEORETICAL FRAMEWORK

A. Concept of Peace 1. Introduction

Peace has always been among humanity's highest values-for some Supremes. Consider: “Peace at any price,” “The most disadvantageous peace is better than the most just war,” “Peace is more important than all justice” 5 etc.

But, we have to know what peace is. Perhaps the most popular (Western) view is as an absence of dissension or freedom from violence, war,6 a meaning found in the Oxford Advanced Learner’s Dictionary.

Peace, however, is also seen as concord, or harmony and tranquillity. It is viewed as peace of mind7 or serenity, especially in the east. It is defined as a state of law or civil government, a state of justice or goodness, a balance or equilibrium of powers.8

5

R. J. Rummel, What is Peace. Accessed on November 15, 2008. http://www.hawaii.edu/powerkills/TJP.CHAP2.HTM.

6

Jonathan Crowther, Oxford Advanced Learner’s Dictionary of Current English. (Oxford: Oxford University Press, 1995), International New Students’ Edition, p. 1112.

7

Peace of mind or Inner peace is a colloquialism that refers to a state of being mentally or spiritually at peace, with enough knowledge and understanding to keep oneself strong in the face of discord or stress. Being “at peace” is considered by many to be healthy (homeostasis) and the opposite of being stressed or anxious. Peace of mind is generally associated with bliss and happiness

Peace of mind, serenity, and calmness are descriptions of a disposition free from the effects of stress. In some cultures, inner peace is considered a state of consciousness or enlightenment that may be cultivated by various forms of training, such as prayer, meditation, T'ai Chi Ch'uan or yoga, for example. Many spiritual practices refer to this peace as an experience of knowing oneself. Anonymous, Peace of Mind. Accessed on October 5, 2007. http://en.wikipedia.org/wiki/ inner peace.

8

Anonymous, Peace of Mind. Accessed on October 9, 2007. http://www.hawaii.edu/powerkills/TJP.CHAP2.HTM.

Such meanings of peace function at different levels. Peace may be opposed to or an opposite of antagonistic conflict, violence, or war. It may refer to an internal state (of mind or of nations) or to external relations, or it may be narrow in conception, referring to specific relations in a particular situation (like a peace treaty), or overarching, covering a whole society (as in a world peace). Peace may be a dichotomy (it exists or it does not) or continuous, passive or active, empirical or abstract, descriptive or normative, or positive or negative.

The problem is, of course, that peace derives its meaning and qualities within a theory or framework. Christian, Hindu, or Buddhist will see peace differently, so will pacifist, internationalist be. Socialist, fascist, and libertarian have different perspectives, as do power or idealistic theorists of international relations. In this diversity of meanings, peace includes the concepts such as justice, freedom, equality, power, conflict, class, and, indeed, any other concept.

All above concepts are defined within a theory or cognitive framework what have been called elsewhere a perspective.Through a perspective peace is endowed with meaning by being linked to other concepts within a particular perception of reality.

2. Some Concept of Peace’s Perspective a) Takeshi Ishida9

Through an examination of the original meanings of peace in the worlds main cultures (excluding Islam).10 The root of the word Islam in Arabic is SALAMA which is the origin of the words peace or submission, a submission to the God and peace to all humanity. It is, thus, the salutation in Islam is Al-Salamu Alaikum or “peace on you.” In this regard, the prophet Mohammad ordered his fellow Muslims to salute others Muslims or non-Muslims with peace when he said “peace before speech.”

Takeshi Ishida examines the main emphasis of each word for peace in order to help reduce the semantic differences that can create problems between different cultures negotiating peace.

Ishida suggests an east - west dichotomy of peace concepts where the eastern concepts see peace achieved through individual conformity to customs, norms, etc. as an outcome of individual internal harmony. Western concepts see peace more as a property of social systems functioning to assure prosperity.11

9

Takeshi Ishida was born in Tokyo in 1972; Takashi Ishida is a renowned Japanese artist/filmmaker. His works have shown extensively at Japanese museums, galleries and film festivals while also internationally, including a recent residency in the UK. In 2007, he received the prestigious "Most Promising Young Talent Prize" from the Fine Art Division of Goto Memorial Cultural Award. Since receiving the prize, Ishida has been based in Toronto, where he remains until the end of February 2009. Anonymous, Takeshi Ishida Trans. Accessed on November 15, 2008.

http://www.akimbo.biz/events/?id=13327&day=13&month=11&year=2008. 10

Anonymous, Concept of Peace in Islam. Accessed on October, 9 2007. http://saif_w.tripod.com/questions/violence/concept_of_peace_in_islam.htm.

11

Anonymous, Peace. Accessed on October 9, 2007.

b) Anatol Rapaport12

Starting from the view that war, especially nuclear war, is the greatest threat to the survival of humanity, Anatol Rapaport examines international co-operation aimed at “controlling” war. His conceptual scheme of peace images includes peace through strength, balance of power, and collective security, peace through law, revolutionary pacifism, and personal pacifism. His conceptual scheme analyzes these images in relation to 1) the problem that is seen as fundamentally important, 2) the conceptualization of a solution, 3) the identification of actors expected to cope with the problem, 4) modalities of social control or the mechanisms the actors are expected to use to implement the solution to the problem. The aspects of Rapaport's conceptual scheme are, 5) induced attitudes or psychological states which harmonize with the particular peace image, such as fear and pugnacity in the peace through strength image, and 6) the roles of international cooperation envisaged in the particular image that will help bring about peace or preserve it.

Interestingly Rapaport implies a range of peace concepts that are based on threat, induced fear and no international cooperation at one end (peace through strength), and based on integration, induced love and no international cooperation at the other end (personal pacifism). In Rapaport's scheme, the conception of peace as “peace through strength” perceives external threat, uses threat as a means

12

Dr. Rapoport was born in Lozavaya, Russia on May 22, 1911. He came to the United States in 1922 and became a naturalized citizen in 1928. He received his BS in 1938, his MS in 1940, and his PhD in 1941, all from the University of Chicago. He received an honorary LHD degree from the University of Western Michigan in 1971. Dr. Rapoport was a Ford Foundation fellow at the Institute for Advanced Study of Behavioural Science during 1954 and 1955. Anonymous, A Biography of Rapoport. Accessed on November 15, 2008. http://www.gwe.edu/-asc/people/Rapaport/bio.html.

of control, and maintains an attitude of fear. While the conception of peace as “personal pacifism” perceives the problem of human aggressiveness responded to by individuals through self-perfection and an attitude of love.13

c) Rudolph Rummel14

Rudolph Rummel begins the concept of peace with the view that conflict is ubiquitous and a necessary part of social. Rummel develops a definition of peace as a social contract from social field theory. Conflict, in Rummel's view does a number of important things; 1) it is the means for establishing and adjusting social order, 2) similarly, it establishes the balance of powers between what people want and what they can get and 3) through the resolution of conflict agreements are reached. These agreements are implicit or explicit in the resolution of conflict and constitute social contract. Thus Rummel's definition of peace is closely related to those that define peace as conflict resolution or conflict management.

Additionally, Rummel identifies seven underlying principles of these concepts of peace. These principles identify peace concepts as a state of either; (a)

13

R.J. Rummel, What is Peace. Accessed on November 15, 2008. http://www.colorado.edu/conflict/full_text_search/PeacePapers/89-14.htm.

14

Rudolph j. Rummel (1932), BA and MA from the University of Hawaii (1959, 1961); Ph.D. in Political Science (Northwestern University, 1963); Phi Beta Kappa, Phi Kappa Phi, Omicron Delta Kappa. Taught at Indiana University (1963), Yale (1964-66), University of Hawaii (1966-1995); now Professor Emeritus of Political Science, University of Hawaii. He received numerous grants from NSF, ARPA, and the United States Peace Research Institute. He frequently nominated for the Nobel Peace Prize. He received the Susan Strange Award of the International Studies Association for having intellectually most challenged the field in 1999; the Lifetime Achievement Award 2003 from the Conflict Processes Section, American Political Science Association; and the 2007 The International Association of Genocide Scholars' Award for Distinguished Lifetime Contribution to the Field of Genocide and Democide Studies and Prevention. R.J. Rummel, RUDOLPH J. RUMMEL. Accessed on November 15, 2008. http://www.hawaii.edu/powerkills/PERSONAL.HTM.

no conflict, violence or war, (b) order, (c) mind, (d) law, (e) (coercive) power, (f) divinity or, (g) goodness. He attempts to group the concepts of peace under these seven principles.15

d) Gunnar Johnson16

Johnson presents three major concepts of peace: 1) peace as a world without war, 2) peace as world justice, and 3) peace as world order, abstracts element of these concepts into theoretical categories:

1) The peace is not war category

The peace is not war category is concerned with disarmament, control of or elimination of war, understanding the root causes of war, and the control of or elimination of war-like to these ends most of peace research has been dedicated. Johnson identifies three conceptual groups under this world without war view of peace. First are those concerned with eliminating causes of war. Second are those committed to finding non-violent ways of settling conflict. And third, those who wish to remove the instruments of war and mediate confrontations which might lead to war.

Johnson is clearly including under the peace is not war category such concepts as 1) peace through no violence, 2) peace through conflict resolution, and 3) peace through disarmament.

15

Anonymous, Concept of Peace. Accessed on November 15, 2008. http://www.colorado.edu/conflict/full_text_search/PeacePapers/89-14.htm.

16

Gunnar Johnson (July 3, 1889 – June 19, 1926) was a Swedish track and field athlete who competed in the 1912 Summer Olympics. In 1912 he finished eleventh in the hammer throw competition. Anonymous, Gunnar Johnson. Accessed on November 12, 2008.

2) The peace is social justice category

According to Johnson, The peace is social justice category contains two other important themes, first the awareness of the presence of structural violence or violence perpetrated by social system. And second, the preference for research directed towards strategies of non-violent change. The peace as social justice school has shifted focus from the causes of war to the conditions of violence and peace. In doing so it has continued to define peace in terms of violence and has added conflict theory to peace theory.

3) The peace as world order category

The peace as world order category attempts to address the problem of human survival in the face of increasingly complex world problems such as nuclear war, and ecological disaster.17

e) John Macquarrie18

Peace is viewed as a process of creating a more peaceful world, or of manifesting the latent true nature of humanity, where that peaceful world or latent nature is ideal states or goals. The actual attainment of the goal or the existence of

17

R.J. Rummel, What is Peace. Accessed on November 15, 2008. http://www.colorado.edu/conflict/full_text_search/PeacePapers/89-14.htm.

18

ANTILL, JOHN MACQUARIE (1866-1937) a soldier, was born on January 26, 1866 at Jarvisfield, Picton, New South Wales, second surviving son of John Macquarie Antill, grazier, and his wife Jessie Hassall, née Campbell. His paternal grandfather was Major Henry Colden Antill, aide-de-camp to Governor Macquarie. Educated at Sydney Grammar School, he was working as a surveyor when he joined the New South Wales Mounted Rifles in 1889. Commissioned as a captain on 19 January, he raised and commanded the Piston Squadron. Four years later he was sent to India by Major General (Sir) Edward Hutton and attached to the 1st Battalion, Devonshire Regiment, and the 2nd Dragoon guards for training. On his return in 1894 he was commissioned in the colony's Permanent Military Forces and appointed to the instructional staff. R.J. Rummel, Antill, John Macquarie (1866 - 1937). Accessed on November 15, 2008. http://adbonline.anu.edu.au/biogs/A070084b.htm.

the goal is taken as a matter of faith, or of transcendent experience. However the process of creation is seen as more immediately important. According to Macquarrie, The problem of peace is one of fractures. The process of peace is one of healing fractures.19 This worldview is the basis for the concept of peace as a process and the definition of peace as healing fractures. Macquarrie illustrates the importance of worldview in determining concepts of peace. A worldview that does not have a basic orientation of fear leads to a concept of peace that is integrative. Integrative in the sense that creation of peaceful relations and creation of peaceful social structures are incorporated.20

The concept of peace that is proposed by some experts above will be used to be referenced by some news concept of peace of the lyrics proposed that will be analyzed in the chapter III.

B. Figures of Speech 1. Simile

According to Wren and Martin, simile is a comparison made between two objects of different kinds which they have, however at least on point in common. Generally, a simile refers to only one characteristic that two things have in common, while a metaphor is not faintly limited in the number of resembles it way indicate.21 Usually, the simile is signified by the words like: like, as, so,

19

“Healing fractures” in Macquarrie's term is nearly synonymous to “reducing separation.” 20

R.J. Rummel, What is Peace. Accessed on November 15, 2008. http://www.colorado.edu/conflict/full_text_search/PeacePapers/89-14.htm.

21

Perrine Laurence & R. ARP Thomas, Sound and Sense: An Introduction to Poetry (Florida, United State of America: Harcourt Brace Collage Publishers, 1991) Eight Edition,p. 61.

appear, seem, more then. Simile is seen at a poem A Red, Red Rose by Robert Burns.

O my love, is like a red, red rose, That’s newly sprung in June

O my love is like the melodies That’s sweetly played in tune

On this poem, Robert Burns use the word like to represent his love that is like a red, red rose and melodies that is sweetly played in tune.

2. Metaphor

According to Barnet, metaphor asserts the identity, without a connective such as “like” or a verb such as “appears” of a term that are literally incompatible.22 According to Perrine, metaphor is a figure of speech in which a comparison is made between two things essentially unlike. In the other case Croft defines that metaphor describes the subject being the thing to which it is compared. In the piece of Robert Herrick’s poem below, he uses metaphor to express his feeling to his sweetheart.

You are tulip seen today, But dearest, of so short a stay

There were you grew scarce man can say.

In the first line of this poem, Herrick images his sweetheart with a beautiful and charming tulip, but unfortunately, the tulips does not have time to stay along, which is proposed described through the line ...so short a stay.

22

Barnet, Sylvan, et al., An Introduction to Literature. (New York: Harper Collins Publishers 1993), Tenth Edition, p. 63.

3. Personification

Personification consists in giving the attributes of a human being to an animal, an object, or a concept. It is a really subtype of metaphor, an implied comparison in which the figurative term of the comparison is always a human being.23 James Stephens use a personification in his poem The Wind. The poet expresses the wind like human which has legs, fingers, and hands.

The wind stood up and gave a shout He whistled on his fingers and

Kicked the withered leaves about

And thumped the branched with his hand And said he’s kill and kill and kill And so he will and so he will

4. Apostrophe

Closely related personification is apostrophe which consists in addressing someone absent or dead or something non human as if that person or thing were present and a live and could reply to what is being said.24

The speaker (William Wordsworth) uses the apostrophe in the first line of the following London poem “…Milton! Thon shoudst be living at this hour…” the speaker addresses Milton, a well known English poet in 17th centuries that changed Paradise Lost. The speaker addresses his name (Milton) hoped to come when English was being attacked by the crisis of culture, because his present was could be a treat the soul that was being crisis.

23

Perrine, op. cit., p.64. 24

5. Metonymy

In metonymy, the name of a thing is substituted for that of another closely associated with it. John Oyer uses metonymy in Grongar Hill;

A little rule, a little sway, A sun beam on a winter’s day, Is all the pround a mighty have Between the cradle and the grave

We recognize that cradle signifies of birth, and grave signifies death.25 Synecdoche (the use of the part whole) and metonymy (the use of something closely related for the thing actually meant) are a like in that both substitute some significant detail or an experience for the experience it self.26

6. Symbol

Symbol is the visible object or action that suggests some furthers meaning in addition to it.27 Perrine says that “a symbol may be roughly defined as something that means more than what it is.”28 It is closely connected with denotation and connotation meaning. Symbol is the part of poem’s structure that could not be paid attention that is caused of its function in understanding the poem meaning.

The words that we use in daily conversation have literal meaning or usually denotative referred to object directly without referring to the other manning. But, the word dog in this line “…some dirty dogs stole my wallet at the

25

X J. Kennedy, An Introduction to Poetry (New York: Pearson, Longman. 2005), p. 96. 26

Perrine, op. cit., p. 66. 27

Kennedy, op. cit., p. 232. 28

bus,” refers to the thief who steal his wallet. The phrase dirty dogs represent the character of the thief who has the bad characteristic like dirty dogs.

The Road Not Taken by Robert Frost for instance, describes a choice made between two roads by a person out walking in the woods. He would like to explore both roads. He tells himself that he will explore one and then come back and explore the other, but he knows that he will probably be unable to do so.

Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, log I stood And looked down one as far as I could To where it bent I the undergrowth;

The word road here represents the world that full of choice and we have to be claver in choosing them.

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 metaphor means something other than what it is; and a symbol means what it is and something more, too. A symbol, that is, functions, literally and figuratively at the same time.29

7. Paradox

Paradox is a statement or sentiment that appears contradictory to common sense yet is true in fact. The examples of paradox are “mobilization for peace” and “a well-known secret agent.” According to Perrine, “a paradox is an apparent contradiction that is nevertheless somehow true. It may be either a situation or a

29

statement.”30 The value of paradox is its shock value, for example: when Alexander pope wrote that a literary critic of his time would “damn with faint praise,” he was using a verbal paradox, for how can a man damn by praising? 31

8. Synecdoche

Synecdoche is a part use to designate the whole. It is closely related to definition proposed in book An Introduction to Poetry, explains that “synecdoche is the use of a part of a thing to stand for the whole of it or vice verse.”32 The word mouth in line “He has many mouths to feed…” 33 constitutes a part of our body whose function to eat, drink, etc. but, the mouth here represents many people.

9. Hyperbole or Overstatement

Hyperbole or overstatement is a simply exaggeration, but exaggeration in the service a truth. It is not the same as a fish story. If you say “I am starved!” or “you could have knocked me over with a feather” or “I’ll be die if I don’t pas this course!” you do not expect to be taken literally; you are merely adding emphasis to what you really mean. (And if you say “there were literally millions of people at the beach! You are merely piling one overstatement on top anther, for you

30

Ibid. p. 100. 31

Ibid. 32

Kennedy, op. cit., p. 96. 33

Siswantoro, Apresiasi Puisi-Puisi Sastra Inggris (Surakarta: Muhammadiyah University Press, May 2002), p. 39.

really mean, “there were figuratively millions of people at the beach,” or, literally, “the beach was very crowded.”)34

10.Allusion

Allusion that is defined as “a reference to something in history or previous literature is like a richly connotative word or a symbol, a means of suggesting far more than it says.”35 The word Joshua in the context of Chesterfield’s toast, calls up in the reader’s mind the whole biblical story of how the Israelite captain stopped the sun and the moon in order that the Israelites might finish a battle and conquer their enemies before nightfall. The force of the toast lies in its extremes economy; it says so much in so little, it exercises the mind of the reader to make the connection for himself.

The affect of Chesterfield’s allusion is chiefly humorous or witty, but allusions also may have a powerful emotional effect. The essayist William Hazlitt writes of addressing a fashionable audience about the lexicographer Samuel Johnson, Speaking of Johnson’s great heart and of his charity to the unfortunate, Hazlitt recounted how, finding a drunken prostitute lying in Fleet Street late at night, Johnson carried her on his broad back to the address she managed to give him. The audience, unable to face the picture of the famous dictionary-maker doing such a thing, broke out in titters and expostulations, whereupon Hazlitt simply said: “I remind you, ladies and gentleman, of the parable of the Good Samaritan.” The audience was promptly silenced.

34

Perrine, op. cit., p. 101. 35Ibid, p. 120.

Allusions are a means of reinforcing the emotion or the ideas of one’s own work with the emotion or ideas of another work or occasion. Because they may compact so much meaning in so small a space, they are extremely useful to the poet.36

C. Imagery

Imagery may be defined as the representation through language of sense experience. Poetry appeals directly to our senses, of course, through its music and rhythms, which we actually hear when it is read load. But, indirectly it appeals to our senses through imagery; the representation to the imagination of sense experience. The word image perhaps most often suggests a mental picture, something seen in the mind’s eye – and visual imagery is the kind of imagery occurs most frequently in poetry. But an image may also represent a sound (auditory imagery); a smell (olfactory imagery); a taste (gustatory imagery); touch, such as hardness, softness, wetness, or heat and cold (tactile imagery); an internal sensation, such a hunger, thirsty, fatigue, or nausea (organic imagery); or movement or tension in the muscles or joints (kinesthetic imagery).37 The imageries could be grasped from the classification below:

36

Ibid. p. 120 et seqq. 37

1. Visual Imagery

Visual imagery evokes a picture of something that occurs most frequently in poetry, sometime seen in the mind eye which called by sight effect,38 through the poem of William Wordsworth Daffodils below seen the obvious described

about visual imagery.

Continuous as the stars that shine And twinkle on the Milky Way, They stretched in never-ending line

Along the margin of a bay: The thousand saw I at a glance

Tossing their heads in sprightly dance

Inside of our imagination appears the description or portrait about daffodil flower that is growing stretched and never ending along the margin of a bay and we can see the thousands of daffodil, what beautiful they are! It is tossing their heads in sprightly dance.

2. Auditory Imagery

Auditory imagery represents a sound. In the poem bellow: Hear the sledges with the bells - silver bells! What a world of merriment their melody foretells! How they tinkle, tinkle, tinkle,

In the icy air of night!

While the stars that over sprinkle All the heavens, seem to twinkle With a crystalline delight; Keeping time, time, time In a sort of runic rhyme,

To the tintinnabulation that so musically wells, From the bells, bells, bells,

Bells, bells, bells,

From the jingling and tinkling of the bells.

38

Poe calls up our imagination through the auditory effect. He invites us to hear sledges39 with the bells, how they tinkle in the icy air of night, or we can hear the jingling and tinkling of the bells.

3. Olfactory Imagery

Olfactory imagery calls up the sense of smell to the reader. We can grasp the olfactory imagery through the lines of Robert Frost’s poem below:

The buzz-saw snarled and rattled in the yard

And made dust dropped stove-length sticks of wood, Sweet-scanted stuff when the breeze drew across it.

In the first line, he uses visual imagery to visualize the situation when the buzz-saw snarled and rattled in the yard and the dust dropped stove-length sticks of wood. The speaker uses olfactory imagery in third line of this poem “…Sweet-scanted stuff when the breeze drew across it” to empress to the reader about the smell when the buzz saw snarled and rattled in the yard and the dust dropped stove length sticks of wood.

4. Gustatory Imagery

Gustatory imagery is the imagery represented a taste. The example of this imagery could be grasped through the following quotation of Robert Frost’s poem (Blueberries) “…the blueberries as big as your thumb...with the flavor of soot…” he awakens our imagery by tasting blueberries with the flavor of soot.

39

A vehicle with long narrow strips of wood, metal, etc. instead of wheels for traveling over the ice and snow. Larger types of the sledge are pulled by horses or dogs and smaller ones are used for going down hill for sport or pleasure. Jonathan Crowther (1995), op. cit. p. 1112.

5. Tactile Imagery

This imagery includes touch such as hardness, softness, wetness or heat and cold. In the sonnet that is written by Shakespeare below, we can feel what freezing has he felt when he is in far from his sweetheart. Shakespeare describes the situation by using the lines such as bellow:

How like a winter hath my absence been From thee, the pleasure of the fleeting year! What freezing have I felt, what dark days seen! What old December’s bareness every where!

6. Organic imagery

Organic imagery is an internal sensation including the sensation like hunger, thirsty, fatigue or nausea. This imagery could be grasped through the following poem “Lord Randal”

“O where have ye been, Lord Randal, my son? O where have ye been, my handsome young man?”

“I here been to the wild wood; mother, make my bed soon, For I’m weary will hunting, and fain wald lies down”. “Where gat ye your dinner, Lord Randal, my son? Where gat ye your dinner, my handsome young man?” “I dined will my true love; mother, make my bad soon, For I’m weary will hunting, and fain wald lie down.”

We can feel how weary Lord Randal is and how he wants to lie down! We can feel it through the question asked by his mother to him such as in line “…o where have ye been, Lord Randal, my son…” but the Lord Randal just say “…I dined will my true love; mother, make my bad soon/ for I’m weary will hunting, and fain wald lie down.” This lines describes how tired Lord Randal is!

The imagery that is built by speaker calls our imagination up to feel as same as the speaker.

7. Kinaesthetic Imagery

Kinaesthetic imagery conveys a sense of movement or tension in the muscles or joints. We can study it in Ghost House’s poem “…the black bats tumble and dart.” This poem impresses us about the sense of movement or tension in the muscles or joints.

D. Technique of Imagery Development

Imagery does not appear just like that. A poet needs to take on several steps to build imagery in his mind:

1. Literal Imagery

The literal imagery is a mental impression that is created by direct description. The poet uses literal imagery when he makes word choices that are very direct, concrete and specific. He invites the reader to imagine something clearly and distinctly. Siswantoro says: meski sifatnya deskriptif, seorang penyair tidak akan mengumbar kata berpanjang lebar, sebab ia sadar bahwa bahasa puisi terkait oleh persyaratan seperti: padat dan singkat.40 Harmon and Holman says”…a literal image being one that involves no necessary change or extension in the obvious meaning of the words, one in which the words call up a sensory

40

representation of the literal object or sensation…”41 it means the poet only chooses the simple and compact words in poem, and it must bring the reader to participate in imagery that is developed by poet.

For example, the writer will give several lines from “Winter” by William Shakespeare, which contain the visual imagery that is developed by literal imagery technique: When icicles hang by the wall

And Dick the shepherd blows his nail And Tom bears logs into the hall And milk comes frozen home in pail, When blood is nipped and ways be foul, Then nightly sings the staring owl, “Tu-whit, tu-who!”

In these lines, the poet uses common sentences in order to describe the winter. However, these ordinary sentences can produce the imagery that makes the reader feels the winter in the sixteenth century. Imagine that the reader will see icicles, a pointed piece of ice that is form when water freezes as it falls down from something such as a roof that hang by the wall. In this poem, he uses literal imagery technique by using ordinary sentence and simple word in order to develop the visual imagery. Although the poet only uses ordinary sentences and simple words, the reader will be able to catch the visual imagery, which is developed by poet in the poem. Like in these lines, the reader will catch the visual imagery from the ordinary sentences that is created by the poet.

41

William harmon and C. Hugh Holman, A Handbook to Literature, (New Jersey, Prentice Hall, 1995). p. 240.

2. Figurative Imagery

The other way to develop the imagery is using figurative imagery. This common technique uses figure of speech in developing imagery. Harmon and Holman say “…and a figurative image being one that involves a “turn” on the literal meaning of the words.”42 So many poet uses figure speech to enrich the sense of imagery to make a reader’s imagination and give reader full participate in interpreting the content of poem.

The writer can say that the poet often uses figurative language in developing image in reader’s mind in their poems. For example, the writer also gives several lines from “A red, red rose” by Robert Burns, which contains the visual imagery that is developed by using figurative imagery technique:

O my luve, is like a red, red rose, That’s newly sprung in June. O my luve is like the melodie That’s sweetly played in tune.

These four lines contain the visual imagery; in this case, poet develops the visual imagery by using figurative language. In these lines, the poet develops the visual imagery by using simile; he puts a connective like as an indicator of simile in it. He makes a comparison between his lovely with a rose. The reader can feel how deep the speaker’s love to his sweetheart. The reader will imagine how his love like a red rose that is newly sprung in June. And the love likes the melody that is sweetly played in tune. The writer can conclude that the visual imagery in these lines is developed by figure imagery by using simile in developing it.

42

CHAPTER III

THE ANALYSIS OF LYRICS

A. Data Description

To support the analysis of this research, the writer uses the following data description containing detail imagery and figure of speech found in the lyrics.

1. Imagine (John Winston Lennon/ The Beatles)

Imagine there’s no heaven 1

It’s easy if you try Nowhere below us Above only sky

Imagine all the people 5

Living for today

Imagine there’s no country It isn’t hard to do

Nothing to kill or die for

And no religion too 10

Imagine all the people Living life in peace… You may say I’m a dreamer But I’m not the only one

I hope someday you’ll join us 15

And the world will be as one Imagine no possessions I wonder if you can

No need for greed or hunger

A brother of man 20

Imagine all the people Sharing all the world. You may say I’m a dreamer But I’m not the only one

I hope someday you’ll join us 25

Table 1 Imagery of Imagine

No Imagery Corpus Lines

1 Visual Imagery Imagine there’s no heaven… 1

…imagine there’s no country it isn’t hard to do nothing to kill or die for and no religion too…

7-11

Table 2

Figure of Speech of Imagine

No Figure of Speech Corpus Lines

1 Symbol Imagine there’s no heaven… 1

Imagine there’s no country, 7 …and no religion too. 11 ... if you can no need for greed or hunger… 18

2 Paradox Imagine there’s no heaven… 1

…Imagine there’s no country… 7 …and no religion too… 11

2. Give Peace a Chance (John Winston Lennon/ The Beatles)

Ev'rybody's talking about 1

Bagism, Shagism, Dragism, Madism, Ragism, Tagism This-ism, that-ism

Isn't it the most

All we are saying is give peace a chance 5

All we are saying is give peace chance Everybody’s talking about

Ministers, Sinister, Banisters and canisters, Bishops and Fishops and Rabbis and Pop eyes,

And bye bye, bye byes. 10

All we are saying is give peace a chance All we are saying is give peace a chance Let me tell you now

Everybody’s talking about

Revolution, Evolution, Mastication, Flagellation, Regulations. 15 Integrations, Meditations, United Nations, Congratulations

All we are saying is give peace a chance All we are saying is give peace a chance Oh Let's stick to it

Everybody’s talking about 20

Tommy smothers, Bob Dylan,

Tommy Cooper, Derek Taylor, Norman Mailer, Alan Ginsberg, Hare Krishna,Hare Krishna

All we are saying is give peace a chance 25

All we are saying is give peace a chance

Table 3

Figure of Speech of Give peace a Chance

No Figure of Speech Corpus Lines

1 Synecdoche Ev'rybody's talking about bagism, shagism,

dragism, madism, ragism, tagism…

1-2 …ministers, sinister, banisters and canisters,

bishops and fishops…

8-10 .. Revolution, evolution, mastication,

flagellation, Regulations .integrations, meditations, United Nations…

15-16

2 Symbol Ev'rybody's talking about bagism, shagism,

dragism, madism, ragism, tagism this-ism, that-ism isn't it the most…

1-2

3 Allusion ..Everybody’s talking about John and Yoko,

Jimmy Leary, Rosemary, Tommy smothers, Bob Dylan, Tommy Cooper, Derek Taylor, Norman Mailer, Alan Ginsberg…

20-24

3. Wind of Change (Klaus Meine/ Scorpions)

I follow the Moskva 1

Down to Gorky Park

Listening to the wind of change An August summer night

Soldiers passing by 5

Listening to the wind of change The world closing in

Did you ever think

That we could be so close, like brothers

The future's in the air 10

I can feel it everywhere

Blowing with the wind of change Chorus:

Take me to the magic of the moment On a glory night

Where the children of tomorrow dream away 15

Walking down the street Distant memories

Are buried in the past forever

I fallow the Moskva 20

Down to Gorky Park

Listening to the wind of change Take me to the magic of the moment On a glory night

Where the children of tomorrow share their dreams 25

With you and me

The wind of change blows straight Into the face of time

Like a storm wind that will ring

The freedom bell for peace of mind 30

Let your balalaika sing

What my guitar wants to say

Table 1

Imagery of Wind of Change

No Imagery Corpus Lines

1 Visual Imagery “…The world closing in did you ever think that we could be so close, like brothers.”

8-9

Table 5

Figure of Speech of Wind of Change

No Figure of Speech Corpus Lines

1 Simile …the world closing in did you ever think that

we could be so close, like brother…

7-9 2 Personification …storm wind that will ring the freedom bell

for peace of mind

29-30

3 Apostrophe “…listening to the wind of change…” 6

4 Symbol “let your balalaika sing” and “what my guitar

wants to say”

31-32

5 Allusion “I follow the Moskva

down to Gorky Park Listening to the wind of change…”

1-3

4. Under the Same Sun(Klaus Meine/ Scorpions)

I saw the morning 1

It was shattered by a gun

Heard a scream, saw him fall, no one cried I saw a mother

She was praying for her son 5

Do you ever ask yourself Is there a heaven in the sky Why cant we get it right

cause we all live under the same sun 10

We all walk under the same moon Then why, why cant we live as one I saw the evening

Fading shadows one by one

We watch the lamb, lay down to the sacrifice 15

I saw the children The children of the sun

How they wept, how they bled, how they died Do you ever ask yourself

Is there a heaven in the sky 20

Why cant we stop the fight

cause we all live under the same sun We all walk under the same moon Then why, why cant we live as one

Sometimes I think I’m going mad 25

Were loosing all we had and no one seems to care But in my heart it doesn’t change

We’ve got to rearrange and bring our world some love And does it really matter

If there’s a heaven up above 30

We sure could use some love

cause we all live under the same sun We all walk under the same moon Then why, why cant we live as one

cause we all live under the same sky 35

We all look up at the same stars

Table 6

Imagery of Under the Same Sun

No Imagery Corpus Lines

1 Visual Imagery I saw the morning…

It was shattered by a gun Heard a scream, saw him fall, no one cried

1-3

I saw the evening fading shadow one by one We watch the lamb, lay down to the sacrifice I saw the children the children of the sun how they wept, how they bled, how they died

13-18

2 Auditory Imagery …It was shattered by a gun Heard a scream, saw him fall, no one cried

2-3 …how they wept, how they bled, how they died 18

Table 7

Figure of Speech of Under the Same Sun

No Imagery Corpus Lines

1 Hyperbola …sometimes I think I’m going mad were

loosing all we had and no one seems to care…

25-26

2 Paradox … is there a heaven in the sky why cant we get

it right…/ ...why cant we stop the fight..

8-9

3 Allusion cause we all live under the same sun we all

walk under the same moon then why, why cant we live as one

10-12

I saw the morning… 1

…I saw a mother

She was praying for her son…

5 ..I saw the evening

fading shadows one by one we watch the lamb, lay down to the sacrifice…

13-15

…I saw the children The children of the sun...

16-17

B. Analysis of Lyrics 1. Imagine Analysis a) Explication

Imagine is a super hits song that is written by John Winton Lennon in 1960. He is well known as a singer and musician who is also considered as the follower of socialism teaching such as Vladimir Ulrich Lenin, Karl Mark, Leon

Trotsky who utter the collective meaning that is together with his band “The Beatles” guides the number of world’s musicians which give the big contribution to the world reconciliation.

Imagine is a lyric, as a reaction against the Vietnam War, a bite and lengthy conflict on the east coast of the Indochinese Peninsula for 18 years (1957 - 1975),43 which is well known as the second Indochina War.

The speaker uses the words such as heaven, country, possession and religion within his lyric to symbolize the stumbling block for the people living in peace life. The meaning of the words considered as the stumbling block will be analyzed in Imagine symbol analysis.

b) Imagery Analysis

Regarding with the theoretical framework of how to build imagery – using the description suggested as an object like view, idea and etc. or using the words or the simple expression including in figure of speech – indicates that Imagine has imagery inside which is developed from figure of speech used by the speaker.

Such was the case analyzed in further paradox analysis below could be grasped that the following lyric “imagine there’s no heaven/ …imagine there’s no country/ ...there’s no country it isn’t hard to do/ nothing to kill or die for/ and no religion too…” describes the refusal or critic of the speaker to the previous situation and all at one is a description of his daydreaming about the ideal world suggested as visual imagery.

43

c). Figure of Speech Analysis

1) Symbol

Symbol is the visible object or action that suggests some further meanings. The definition of symbol proposed in chapter II of this thesis is manifested within the statement “a symbol may be defined as something that means more than what it is.”44

The words such as heaven, country, religion, and greed in line 19 of this lyric symbolize a few causes of dissension considered as the stumbling block for all people living in peace. The words heaven is a place believed to be the home of god and good people, and it also symbolizes a place or state very quiet happiness where everybody competes to reach it. War is a kind of symbol, which describing that competition.

Both religion and country symbolize the powerful doctrine of human. While, the word greed that is translated in language (an excessive desire for food, especially when one is not hungry or an excessive desire for wealth, power, etc. for oneself, without consideration for the needs of other people)45 symbolizes the bad characteristic of human who is suggested has consequences poor in quality or not good to the human life.

44

Siswantoro, op. cit., p. 43. 45

Beyond the cause of the Vietnam War, the word heaven, country, and religion are some of the essential kinds that cause the dissension of war. From this lyric, “imagine there’s no heaven/ …imagine there’s no country/ ...there’s no country it isn’t hard to do/ nothing to kill or die for/ and no religion too…” the writer sees how the speaker understands and offers the ideal world symbolizing the oneness and unity of a country related to intimacy among people.

2) Paradox

The paradox that defined as “an apparent contradiction that is nevertheless somehow true that may be either a situation or a statement” emerges in some lines of this lyric such as “Imagine there’s no heaven/ Imagine there’s no country/ …and no religion too.” The speaker emerges some realities that are exactly believed by almost of people in this world such as the existence of the heaven, religion, country. But, the impossibility of that statement exactly possesses the rightness.

Such was the case analyzed in the symbol analysis above, that the words such as heaven, country, and religion are suggested as stumbling block for all people living in peace. The word heaven is a place believed to be the home of god and good people, and it also symbolizes a place or state very quiet happiness but no one could live peace in the earth because of the antagonism, referring to the war.

a) Explication

This Give Peace a Chance lyric was recorded in Queen Elizabeth Hotel room in May, 1967 attended by some guests such as Timothy Leary, Tommy Smothers, Petula Clark and journalists, which is also conformity with the Bed In action launched by John Winston Lennon and his wife Yoko Ono as a protest to the Vietnam War.

The Beatles…after the break up or blak-blakan The Beatles…after the break up published by PT Gramedia explicates that the Bad In action is a reconciliation advertisement meant as the contrary of war advertisement used to published in newspapers at that time. A translation work by Pandu Ganesa, Lennon said:

Inti peristiwa Bed In secara singkat adalah iklan perdamaian, sebagai kebalikan dari iklan perang, yang diberitakan di surat-surat kabar setiap hari pada waktu itu… Bed In diadakan selama tujuh hari mereka boleh menanyakan apa saja_tak dtutup-tutupi, tak ada batas waktu sampai kau memperoleh semua yang kau ingin ketahui tentang John and Yoko.

John desember 1980.46

Overall, this lyric describes the human character, preference and human life style, ideology, etc. But, they constantly pretend to utter the peace described in refrain of this lyric “all we are saying is give peace chance.”

b) Figure of speech Analysis 1) Synecdoche

46

David Bennahum, The Beatles…after the break up or blak-blakan The Beatles…after the break up Pandu Ganesa (Jakarta: PT Gramedia 2006), p. 76.

Synecdoche that is defined as “a part is used to designate the whole” emerges in the first, second and third stanzas of this lyric. The words such as shaggy, drag, mad, rag, and tag could be suggested as a particular philosophy or set of principles, or an individual preoccupation or way of life after added by suffix ism47 in the end of the words such as shagism, dragism, madism, ragism, tagism.

While the words that surfacing in the second stanza are the words or terms related to the religion manifests or designates the whole of human belief such as ministers (refer to a Christian Churches or priest),48 sinister (suggesting an evil, or that something bad may happen),49 banisters (the posts and rail that are fixed at the side of a staircase),50 canisters (a use metal container for holding tea, or coffee, etc. or a small container filled with shot or gas),51 bishops (a senior priest in charge of the work of the Church in a city or district),52 fishops and rabbis (a Jewish religious leader or teacher on Jewish law).53

The words in the third stanza where the speaker writes the line such as “…everybody’s talking about revolution,54 evolution,55 mastication,56

47

This suffix is used very freely in modern English to form nouns which embody a particular philosophy or set of principles, or an individual preoccupation or way of life. Pam Peters, The Cambridge Guide to English Usage (Cambridge: Cambridge University Press, 2004), p. 294.

48

Jonathan Crowther(1995), op. cit. p. 742. 49

Ibid. p. 1104. 50

Ibid. p. 80. 51

Ibid. p. 163. 52

Ibid. p. 108. 53

Ibid. p. 956. 54

Revolution (an attempt to change the system of government esp. by force or a complete or dramatic change of method, condition, etc. or a movement in a circle round a point, especially of one planet round another). Ibid. p. 1008.

flagellation,57 regulations,58 integrations,59 meditations,60 united nations…”61 in which all of the words related to the political terms that symbolize the preferences of human.

After grasping all of the words, the writer concludes that the words in first, second and third stanza of this lyric describe the human philosophy or way of life as the various description of human.

2) Symbol

In the first stanza of this lyric, the writer finds some word ended with suffix ism such as bagism, shagism, dragism, madism, ragism, tagism this-ism, that-ism. This suffix is used very freely in modern English to form nouns which embody a particular philosophy or set of principles, or an individual preoccupation or way of life.

The word bagism is the place for fans of John Lennon and The Beatles to come together and learn, educate, and have fun. It is an interactive site meaning that you will have to be an active participant rather than just being a

55

Evolution (the gradual devolvement of the characteristics of plants animals over many generations, especially the development of more complicated forms from earlier, simpler forms or the process of gradual movement). Ibid. p. 397.

56

Mastication (masticate to chew foot). Ibid. p.721. 57

Flagellations (flagellate to whip somebody or oneself as a religions punishment or for sexual pleasure). Ibid. p. 443.

58

Regulations (a rule or restriction made by an authority or the action or process of regulating something, control). Ibid. p. 983.

59

Integrations (integrate to combine two things in such a way that one becomes fully a part of the other/ to become or make somebody. become fully a member of a community). Ibid. p. 620.

60

Meditations (the action or practice of meditating (meditate) to think deeply, use in silence, especially for religious purpose or n other to relax/ to plan something. In one’s mind; to consider doing something). Ibid. p. 728.

61

United Nations (an organization of many countries formed to encourage peace in the world and to deal with problems between nations). Ibid. p. 1304.

passive observer. The underlying concept of John and Yoko's bagism idea is interactivity among people without prejudice.62 In other words, it symbolizes the intimacy among people.

Even as the words shagism,63 dragism,64 madism,65 ragism,66 and tagism67 symbolize the life style of musician in 1960s, where the group of rock music emerges with shaggy style, jeans, and pro drugs and lyric which have love themes as a protest to the Vietnam War.

The word bagism, shagism, dragism, madism, ragism, tagism embody a particular philosophy or set of principles or an individual preoccupation or way of life that refer to 1960s decade.

3) Allusion

The speaker uses allusion defined as “a reference to something in history or previous literature is like richly constitutive word or symbol, a means of suggesting for more then it says to build the meaning far more what its says” in the last of stanza of this lyric.

62

Anonymous, Bagism. Accessed on December 28, 2007. http://www.bagism.com/. 63

(Of hair, fur, etc.) Long, thick and untidy/ covered with long thick untidy hair, fur, etc.), retrieved from: Jonathan Crowther (1995), op cit. p. 1079.

64

(an of breathing in smoke from a cigarette, etc.),retrieved from: Ibid. p. 350. 65

(Mental ill/ very polish, crazy/ very interested in or enthusiastic about somebody/ something/ very exited, wild). Ibid. p.705.

66

(A piece of old, often torn, cloth used especially for cleaning things/ (piece ragtime music is a music played especially. on piano that originated in the USA in the 1890s and developed into jazz). Ibid. p. 958-959.

67

(A label or device attached to something/ somebody, e.g. to identify them/ a name or phrase applied to somebody/ something. That describes them/ it in some way/ a word of phrase that added too sentence for emphasis/ children’s game in which one child chases the other and tries to touch one of them). Ibid. p. 1214.

The row of the names above is related to the icon of 1960s except Here Krishna.68 But, the writer can conclude that they are the people who give contribution such as thought, information, opportunity to produce works of art, entertain etc.

Some rows of the people who give contribution are written by Lennon within the line “…John and Yoko, Timmy Leary, Rosemary, Tommy smothers, Bob Dylan, Tommy Cooper, Derek Taylor, Norman Mailer, Allan Ginsberg, Hare...” They are the famous icons of 1960s, such as Lennon, an English rock musician, singer and songwriter, who gained worldwide fame as one of the founders of The Beatles,69 and his wife Yoko.

Timmy Leary whose full name Timothy Francis Leary (October 22, 1920 – May 31, 1996) was an American writer, psychologist, modern pioneer and advocate of psychedelic drug research and use, and one of the first people whose reaming have been sent into space. An icon of 1960s counterculture, Leary is most famous as a proponent of the therapeutic and spiritual benefits of LSD.70

68

The Hare Krishna mantra, also referred to reverentially as the Maha Mantra ("Great Mantra"), is a sixteen-word Vaishnava mantra made well known outside of India by the International Society for Krishna Consciousness (commonly known as 'the Hare Krishnas'). It appears within many traditions of Hinduism and is believed by practitioners to bring about a higher state of consciousness when heard, spoken, meditated upon, or sung out loud. According to Gaudiya Vaishnava theology, this higher consciousness ultimately takes the form of pure love of God (Krishna). Retrieved from: Anonymous, Hare Krishna. Accessed on March 14, 2008. http://en.wikipedia.org/wiki/Hare_Krishna.

69

Anonymous, John Lennon. Accessed on March 14, 2008. http://www.solcomhouse.com/johnlennon.htm.

70

Anonymous, Timothy Leary. Accessed on March 14, 2008. http://en.wikipedia.org/wiki/Timothy_Leary.

darker moments. The first being in Tokyo, Japan where The Beatles were locked up in their hotel and were not allowed to come out until show time. The next was in the Philippines when, on a day off, Madam Marcos asked them to attend a Royal dinner. The Beatles politely turned down the invitation and the public was furious. The Beatles quickly left.

In 1966, The Beatles were under heavy pressure from the press after John made a remark that The Beatles were more popular than Jesus. John had to apologize and explain himself several times. Not only that but their tour of America was plagued with mishaps. On August 19, 1966 they receive a death threat in Memphis and a firecracker went off during the show terrifying The Beatles. The next day in Cincinnati a concert promoter failed to provide a stage canopy and can't understand why The Beatles were unwilling to play electric guitars in a rainstorm. Paul becomes so agitated he becomes ill. On August 28, 1966 at Dodger Stadium, L.A. cops are seen beating teenage girls. Dozens are trampled in the chaos.

During the sixties, The Beatles not only became a musical phenomenon, they affected the styles and fashions of the decade. They transformed the record industry as well. They brought about royalties for artists and producers, revolutionized music tours, and started the Pop promo film or what we know today as "The Music Video". Everyone of their albums, from Please Please Me to Abbey Road were all popular and unique in their own way. But after the death of their long time manager Brian Epstein, things would start to fall apart for The Beatles.

Due to outside interests the group focused less and less and the band. In late 1964 they were introduced to marijuana and would experiment with more drugs such as LSD which they were first introduced to in late 1965. The Beatles played their last concert at Candlestick Park in San Francisco on August 29, 1966. In 1967, their manager Brian Epstein died of a accidental drug overdose. Some friction was caused between John and Paul because Paul was trying to become the leader of the group after Brian's death. Ties were still strong at this point between the band members despite Ringo leaving the band for a short time during The White Album because he felt left out. When Ringo decided to return he found his drum kit decked with flowers and the others tried to include him more.

After The White Album they embarked on the "Let It Be" project. The idea was to see The Beatles jam, rehearse and record a whole new album of songs. At the end they would give a concert from some spectacular place. Tensions were high between Paul and George as they started recording at Twickenham Film Studios. John was off in his land of love with Yoko and Ringo was left in the background. One day George walked out on a session after a disagreement with Paul. George came back to finish up the album but as John would later explain, "We couldn't play the game anymore, we just couldn't do it."

The Beatles gave their last public appearance on top of the Apple building on January 30, 1969. However their "Let It Be" album was deemed un-releasable. It was handed over to Phil Spector who added lush orchestrations to such songs as "The Long and Winding Road", infuriating Paul. Despite all of this, The Beatles

decided to get together to make one final album "Abbey Road" which would go on to become their biggest selling record in history. It was mainly Paul who kept the group together this long, encouraging them to make Magical Mystery Tour back in 1967 after Brian's death and trying to get them all excited about recording and performing. Recording yes, Performing no. From Sgt. Pepper's through Abbey Road these were considered to be their "studio years" where they rarely got together except to record. The Let It Be album was finally released on May 8, 1970 less than a month after Paul publicly announced he was no longer a member of the group.

In the end, The Beatles became true legends. Their music touched all our lives. The Beatles wanted more than just to "Be Beatles," they wanted happiness. A happiness that they once had back when they first became successful. John found happiness with his one true love Yoko, his Plastic Ono Band, and son Sean; Paul found happiness with Linda, his children, and Wings; George found happiness with his solo career, Olivia, and his son Dhani; and Ringo found happiness with his solo career, acting career, Barbara, and his sons. They will always be the greatest rock 'n' roll band in history.90

D. Scorpions Biography

Scorpions are a hard rock/heavy metal band from Hannover, Germany, best known for their 1980s rock anthem “Rock You Like a Hurricane” and their singles “Wind of Change,” “No One Like You”, “Still Loving You,” and “Send Me an Angel.” The band has sold over 70 million records worldwide.

Formation and early history (1965-1973)

Rudolf Schenker, the band’s rhythm guitarist, set out to find a band in 1965. At first, the band was school-kind with beat influences and Schenker himself on vocals. Things began to come together in 1969 when Schenker’s younger brother Michael and vocalist Klaus Meine joined the band. In 1972 the group recorded and released their debut album Lonesome Crow with Lothar Heimberg on bass and Wolfgang Dziony on drums. During the Lonesome Crow tour, Scorpions opened for upcoming British band UFO. At the end of the tour the members of UFO offered guitarist Michael Schenker the lead guitar job; an offer which he soon accepted. Uli Roth was then called in temporarily to finish off the tour.

The departure of Michael Schenker led to the break up of the Scorpions. In 1973, guitarist Uli Roth, a friend of the Schenker brothers, was in a band called Dawn Road. He had been offered the role as lead guitarist in Scorpions after

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Anonymous, The Beatles Biography, Accessed on December 15, 2008.

Michael Schenker’s departure but turned the band down. Rudolf decided that he wanted to work with Roth but did not want to resurrect the last Scorpions lineup.

Rudolf Schenker attended some of Dawn Road’s rehearsals and ultimately decided to join the band, which consisted of Roth, Francis Buchholz (bass),Achim Kirschning (keyboards) and Jurgen Rosenthal (drums). Roth persuaded Rudolf Schenker to invite Klaus Meine to join, which he did soon after. While there were more members of Dawn Road than Scorpions in the band, they decided to use the Scorpions name because they had released an album and were known in the German hard rock scene.

Rise to popularity (1974-1978)

In 1974 the new line-up of Scorpions released Fly to the Rainbow. The album proved to be more successful than Lonesome Crow and songs such as “Speedy’s Coming” and the title track began to establish the band’s sound. Achim Kirschning decided to leave after the recordings but subsequently guested on keyboards for the next two albums. Soon after, Jürgen Rosenthal had to leave as he was being drafted into the army, and was replaced by a Belgian drummer, Rudy Lenners. He later joined German progressive rock band called Eloy in 1976 and recorded three albums with them. It wasn’t until the following year that the band hit their stride with the release of In Trance. In Trance marked the beginning of Scorpions’ long collaboration with German producer Dieter Dierks. The album was a huge step forward for Scorpions and firmly established their hard rock formula, while at the same time garnering a substantial fan base, both at home and abroad.

In 1976, Scorpions released Virgin Killer. The album’s cover, which featured a fully nude prepubescent girl, brought the band considerable criticism and was ultimately pulled or replaced in several countries. In spite of the controversy - lead singer Klaus Meine even expressed shock - the album garnered significant praise from critics and fans alike. The following year, Rudy Lenners resigned due to health reasons and was replaced by Herman Rarebell.

The follow-up to Virgin Killer, Taken by Force, was the first Scorpions record to be aggressively promoted in the United States. The album’s single, “Steamrock Fever,”was added to some of RCA’s radio promotional records. Roth was not happy with the label’s efforts and the commercial direction the band was taking. Although he performed on the band’s Japan tour, he departed to form his own band, Electric Sun prior to the release of the resultant double live album Tokyo Tapes. Tokyo Tapes was released in the US and Europe six months after its Japanese release. By that time in mid 1978, Scorpions recruited new guitarist Matthias Jabs.

Commercial success (1979-1990)

Following the addition of Jabs, Scorpions left RCA for Mercury Records to record their next album. Just weeks after being evicted from UFO for his alcohol abuse, Michael Schenker also returned to the group for a short period during the recordings of the album. The result was Lovedrive. Containing such

fan favorites as “Loving You Sunday Morning,” “Holiday” and the instrumental “Coast to Coast,” the “Scorpions formula” of hard rock songs mixed in with melodic ballads was firmly cemented. Love drive peaked at 55 on the US charts proving that Scorpions were gathering an international following. After the completion and release of the album, the band decided to retain Michael in the band, thus forcing Matthias Jabs to leave. But after a few weeks of the tour, Michael, still coping with alcoholism, kept missing a few gigs and Matthias Jabs was brought back to fill in for him on those occasions when he couldn’t perform. In April 1979, during their tour in France, Matthias Jabs was brought in permanently to replace Michael Schenker.

In 1980, the band released Animal Magnetism, again with a provocative cover showing a girl kneeling in front of a man’s crotch. While Animal Magnetism contained classics such as “The Zoo” and “Make It Real,” it was a critical disappointment when compared with Love drive.

The band then began working on their next album. Blackout was released in 1982 and quickly became the band’s best selling to date, eventually going platinum. Blackout spawned three hit singles: “Dynamite,” “Blackout” and “No One Like You.”

It was not until 1984 and the release of Love at First Sting that the band finally cemented their status as rock superstars. Propelled by the single “Rock You Like a Hurricane,” Love at First Sting went up the charts and went double platinum a few months after its release. MTV gave the album’s videos “Rock You Like a Hurricane,” “Bad Boys Running Wild,” “Big City Nights,” and the power ballad “Still Loving You” significant airtime, greatly contributing to the album’s success.

The band toured extensively behind Love at First Sting and decided to record and releases their second live album, World Wide Live. Recorded over a year long period and released at the height of their popularity, the album was another success for the band, peaking at 17 on the charts.

After their extensive world tours, the band finally returned to the studio to record Savage Amusement. Released in 1988, four years after their previous studio album, Savage Amusement represented a more polished pop sound similar to the style Def Leppard had found success with.

On the Savage Amusement tour in ‘88, Scorpions became only the second Western group to play in the Soviet Union (the first being Uriah Heep in December 1987), with a performance in Leningrad. The following year the band returned to perform at the Moscow Music Peace Festival.

Wishing to distance them from the Savage Amusement style, the band separated from their long-time producer and “Sixth Scorpion,” Dieter Dierks, ultimately replacing him with Keith Olsen when they returned to the studio in 1990. Crazy World was released that same year and displayed a less polished sound. The album was a hit, propelled in large part by the massive success of the ballad “Wind of Change.”

Later days (1991-present).

After the release of Crazy World Francis Buchholz, the band’s long-serving bassist left the group. Replacing him was Ralph Rieckermann who handled bass duties until 2002.

In 1993 Scorpions released “Face the Heat.” For the recording process, Scorpions brought in producer Bruce Fairbairn. The album’s sound was more metallic than melodic. Face the Heat was a moderate success.

In 1995, a new live album, Live Bites, was produced. The disc documented live performances from their Savage Amusement Tour in 1988, all the way through the Face the Heat Tour in 1994. While the album had a much cleaner sound in comparison to their best-selling live album, World Wide Live, it was not as successful.

Prior to recording their 13th studio album, 1996’s Pure Instinct, drummer Herman Rarebell left the band to set up a recording company. Curt Cress took charge of the drumsticks for the album before James Kottak took over permanently.

1999 saw the release of Eye II Eye and a significant change in the band’s style, mixing in elements of pop and techno. While, the album was slickly produced, fans were unsure what to make of the band, responding negatively to almost everything from pop-soul backup singers to the electronic drums present on several songs. The video to the album’s first European single, “To Be No. 1,” featured a Monica Lewinsky look alike which did little to improve its popularity.

The following year Scorpions had a fairly successful collaboration with the Berlin Philharmonic that resulted in a 10-song album named Moment of Glory. The album went a long way towards rebuilding the band’s reputation after the harsh criticism of Eye II Eye.

In 2001, Scorpions released Acoustica, a live unplugged album featuring acoustic reworking of the band’s biggest hits, plus new tracks. While appreciated by fans, the lack of a new studio album was frustrating to some, and Acoustica did little to return the band to the spotlight.

In 2004, the band released Unbreakable, an album that was hailed by critics as a long awaited return to form. The album was the heaviest the band had released since Face the Heat, and fans responded well to tracks such as “New Generation,” “Love ‘em or Leave ‘em” and “Deep and Dark.” Whether a result of poor promotion by the band’s label or the long time between studio releases, Unbreakable received little airplay and did not chart. Scorpions toured extensively behind the album, and played as special guests with Judas Priest during the 2005 British tour.

In early 2006, Scorpions released the DVD 1 Night in Vienna that included 14 live tracks and a complete documentary.

In May of 2007, Scorpions released Humanity - Hour 1 in Europe. Humanity - Hour 1 became available in the U.S. on August 28, 2007 on New Door Records, entering the Billboard charts at number 63.91

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