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CHAPTER ONE
INTRODUCTION
1.1 Background of the Study
Quoting from Simpson (2008:2), stylistic is a branch of language study which
is concerned with the integration of language and literature. In simply view of Butler
(2008:3), stylistic is a study of style where style is the deployment of rethorical
resources in written discourse to create and express meaning.
According to Mistrk (1985) in Mikov (2003), stylistic analysis is a procedure
which aims at the linguistics means and devices of a given text, the message, topic
and context of analyzed texts are not the focus. The method of stylistic analysis can
be equally applied to the study of language use in literary as well as non-literary text.
In H. G. Widdowson’s view (1975) in Amare (2002), stylistics is the study of
literary discourse from a linguistic orientation. He has point of view that “what
distinguishes stylistics from literary criticism on the side and linguistics on the other
side is that it is essentially a means of linking the two and has no autonomous domain
of its own. One can conduct enquiries in literary criticism without any reference to
linguistics. Some linguists have suggested that the latter is impossible since the
literary critic must be involved in a discussion about language. Stylistics can provide
a way of mediating between two subjects: English language and literature”.
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It is a fact that stylistics is neither a discipline nor a subject in its own right,
but a mean of relating disciplines and subjects. This relationship is not only between
subject and discipline and the reverse. In other words, Widdowson (1975) in Amare
(2002) claims that stylistics can serve as a mean whereby literature and language as
subjects can be a process of gradual approximation move towards both linguistics and
literary criticism, and also a means whereby these disciplines can be pedagogically
treated to yield different subjects. Thus, stylistics can provide the progression of a
pupil from either language or literature towards either literary criticism or linguists’
literary institutions and the critics linguistics observations and make their relationship
explicit. That is why the stylistic approach is needed within this study.
In this study, the researcher is interested in analyzing Shakespeare’s selected
sonnets through stylistic analysis. The focus of this study will be linguistic deviation
occurred in the sonnets. Furthermore, linguistic deviation itself can be distinguished
into several deviations, however, the researcher only focuses this study in analyzing
the lexical deviation and grammatical deviation.
Besides, the researcher prefers analyzing sonnets to other forms of poetry. A
sonnet is a poem consists of fourteen lines in certain verse and rhyme schemes.
Sonnets characteristically express a single theme or idea. This single idea makes
sonnets quite simple to analyze, this is the reason why the researcher interested in
analyzing sonnets. Moreover, the researcher interests in analyzing Shakespeare’s
sonnets because those eight sonnets are more famous than other 152 sonnets, which
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William Shakespeare had published. The indication of famous for those sonnets are
because those sonnets are quoted regularly by people at all levels of modern western
life, sometimes without even realizing that they are quoting a line from a Shakespeare
sonnet. The most sonnets approach the great universal themes of love and death, or
the slow ageing the preceded death. Those eight famous sonnets are: Sonnet 18,
Sonnet 30, sonnet 33, Sonnet 73, Sonnet 104, Sonnet 116, sonnet 129, and Sonnet
130.
The researcher is interested in conducting this study because of her love of
linguistic and literature. The researcher is fond of poetry so much and interested to
show the deviation occurred in poetry through linguistic. She realizes that those
deviations have built the aesthetic of the poetry itself.
Moreover, through this study, the researcher wishes that this study will find
the features of Shakespeare sonnets which will help showing the beauty of the
language of the poetry to the readers. Besides, by showing how William Shakespeare
built his beautiful sonnets, she wishes that the readers can avoid their anxiety to be
creative especially in creating a poetry.
Based on the consideration above, the researcher is interested in carrying out a
descriptive-qualitative study entitled Linguistic Deviations on Shakespeare’s Selected
Sonnets.
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1.2 Statement of the Problems
Stylistics has very wide area to be analyzed, because it consists of many parts,
as stated above. In focusing the field of investigation then, the researcher formulates
several research questions:
1. What lexical deviations occur in the selected sonnets of William
Shakespeare?
2. What syntactical deviations occur in the selected sonnets of William
Shakespeare?
3. How do those deviants build the features of Shakespeare sonnets?
1.3 Objectives of the Study
By doing this research, the researcher wants to find out:
1. The lexical deviation in the selected sonnets of William Shakespeare.
2. The syntactical deviation in the selected sonnets of William Shakespeare.
3. How those deviants build the features of Shakespeare sonnets.
1.4 Significance of the study
A piece of literary work can be analyzed not only through literary approach,
but also through linguistic approach. Theoretically, this research is meant to
contribute the understanding about linguistic deviations in poetry especially in classic
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literary works. Furthermore, this study is conducted in order to enrich the knowledge
of English Department students about stylistic especially linguistic deviation.
Practically, this study is conducted to find out the feature of classic work
especially Shakespeare works by viewing at the linguistic deviation occurred in that
classic work. By improving the knowledge about stylistic and poetry, it is expected
that they can build their creativity in creating poetry and other literary works. The
researcher expects that her research can encourage the students of English
Department to do more research on the study of literary works using linguistics
approach.
1.5 Scope and Limitation of the Study
As the limitation to the number is chosen to be analyzed, the researcher uses
some criteria. The researcherchooses the eight famous sonnets of William
Shakespeare for it can be more interesting to analyze something familiar to the
readers. Theoretically, this study is a stylistic analysis of linguistic deviation and will
be limited to lexical and syntactical deviation. Therefore, the researcher only analyzes
the deviations occur in the word and sentence in Shakespeare’s selected sonnets. The
content and message of the sonnets are not the focus of this study.
Practically, this study will take eight sonnets of William Shakespeare which
are considered to have deviant language. Those sonnets are Sonnet 18, Sonnet 30,
Sonnet 33, Sonnet 73, Sonnet 104, Sonnet 116, Sonnet 129, and Sonnet 130. Those
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sonnets are considered as the most famous sonnets of William Shakespeare. The
indication of famous for those sonnets are because those sonnets are quoted regularly
by people at all levels of modern western life, sometimes without even realizing that
they are quoting a line from a Shakespeare sonnets. Besides, those sonnets are often
used in teaching literature. Those sonnets will be taken from The Arden Shakespeare:
Shakespeare’s Sonnets.
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CHAPTER TWO
THEORITICAL REVIEW
2.1 What is Literature?
In everyday life, it is almost impossible to avoid a contact with words
wherever we are. Words are parts of language which is always used to communicate
in society. Besides, words are parts of aesthetic that defines a beauty of written work
called literature. That statement is supported by Edmonson (1997) in Pickens
(2003:11) stated that literature is written texts which have a certain aesthetic value
and some perceived status in the culture of which they are artifacts.
In another words, Sanger (2003:98) quoted that literature is a piece of written
works which explore the formulaic style of some writing and might use language in a
more innovative, unique or uplifting way in order to entertain the readers. Another
definition comes from Birch (2005:112) who argued that literature is a different
language from the one we ordinarily write and speak, and that there is a special
relationship between the form of that language and its meaning.
As stated in the definitions above, the researcher conclude that literature is a
written text which contains of aesthetic value formed by innovative, imagination, and
a number of beautiful words in order to amuse the readers. Innovation becomes a
characteristic of literary works since through innovation, the author shows his
creativity by creating a new language which illustrates his literary works’ feature.
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Moreover, the author also uses his imagination to make his literary works more
interesting to read. Not only for causing it interesting, imagination also makes deeper
impression which will touch the readers’ feeling more effective. Those innovations
and imaginations often create a number of beautiful words which dense of meaning.
2.1.1 Literary Language
As the researcher has stated before that literature cannot be separated from
language which makes literature has its own unique language. The indication of
unique language of literary works is because they have several features which do not
belong to non-literary works. Those features are creativity, imagery, and indirectness
meaning. Creativity is an important point which will differentiate between literary
work and non-literary work. Through his creativity, the author often crossed over the
normal language intentionally and creating deviants of his literary works in order to
make a deeper impression. The author often creates his creation into imagery. The
imagery is writing that appeals to one or more of the five senses in order to convey
the picture without saying what the image is. Imagery can also stimulate the
imagination and create vivid picture in the mind. It will make some people see the
things in a different way than other people see them. Those imagery and creativity
usually deliver a message which cannot be aware directly called indirectness
meaning. The author prefers to use indirectness meaning because the author
sometimes wanted to make the readers think and find the meaning by their
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perspectives and knowledge. It is important for it can cause the readers drifted with
the feeling which they found in literary works.
The deviants occurred in literary language are supported by Jakobson in Birch
(2005) argued that a case is being made to define whether a text is a kind of literature
is from its language. The specific literary language- a language, in the main, defined
by its supposed deviation from a norm (the norm being ‘ordinary’ language). Another
support comes from Muka Ovsky (1970) in Birch (2005) stated that literary language
is an aesthetically urposeful distortion of standard language.
Talking about literary language there are two main camps can be grouped into
formalist and functionalist though the division is by no means a clear-cut one. In
formalism view, literary language is deviant language. According to this theory,
literary language inheres in the degrees to which language use departs or deviates
from expected configurations and normal patterns of language. Language use in
literature is different for it makes strange, disturbs, upset our routinised ‘normal’ view
of things and thus generates new or renewed perceptions.
Based on the definitions above, the researcher concludes that literature has its
own unique language called literary language. Literary language can be simply
defined as the unique language which violates the norm of ordinary language.
Furthermore, we can find the relationship between language and literature and its
function in conducting this study.
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2.1.2 Language and Literature
Language is a communication tool which is used to have contacts with other
people in a certain society whereas literature is a written or spoken material which
contains of aesthetic value formed by innovative, imagination, and a number of
beautiful words in order to amuse the readers. The language and literature are existed
in our daily life and they cannot be separated. They are bounded each other where
one needs another and vice versa.
According to Thornborrow (2005:2) stated that language and literature
complements one another. For example, if we interested primarily in literature, with
no previous knowledge of linguistics; on the other hand, we may know more about
language than literature, and be interested in application of linguistics to texts. We
may already be studying stylistics. It means that stylistic is a ‘bridge’ to across from
literature to language or vice versa. Stylistics comes up as the analytical process in
analyzing the literary works through parts of language.
In accordance with the theory about stylistic, the researcher is going to
conduct a study using stylistics analysis to analyze parts of linguistics in literary
works.
2.1.3 What is Stylistics?
Stylistic analysis is an approach chosen by the researcher in this study. Since
stylistic analysis will be used to analyze the text (in this case, literary work) in
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language background. The focus will be the aspects of linguistic so the content and
the message are not the focus.
Stylistics is a branch of linguistics which studies the characteristics of
situationally-distinctive uses of language, with particular reference to
literary language, and tries to establish principles capable of accounting
for the particular choices made by individuals and social groups in their
use of language.
According to Leech and Short (2007:11), stylistic is study of style. Moreover,
it can be defined as an exercise in describing what use is made of language so we
have to select what aspects of language matter, and the principle of selection depends
on the purpose we have in mind. Mistrk (1985) in Mikov (2003) stated that stylistics
is regarded as a study of methods to select and implement linguistics, extra-linguistic
or artistic expressive means and devices in the process of communication. The
stylistics is distinguished into linguistic stylistics and literary (poetic) stylistic.
Stylistics analysis concerns to the linguistics means and devices of a given text,
therefore, the message, topic and content of analyzed texts are not the focus.
To borrow Geoffrey Leech’s definition (1969), stylistic is meant the study of
the language use in literature that investigates the general characteristics of language,
especially the English language, as a medium of literary expression.
As Kate Wales remarks in her Dictionary of Stylistics, this subject is also
sometimes called confusingly literary stylistics or linguistic stylistics, literary:
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because it tends to focus on literary texts linguistic and linguistic because its model
are drawn from linguistics. Because of its edecticism, she tightly comments “ stylistic
has increasingly come to be used as a teaching tool in language and literary studies
for both native and foreign speakers of English.
Based on the theory above, the researcher presented stylistic as an approach
which will be used to describe phenomena in the literary work through language
which is in this case the researcher will take eight famous sonnets of William
Shakespeare to be analyzed. There are so many aspects of language that can be
analyzed so we have to select the chosen ones depends on our purpose in analyzing
the text. The stylistic analysis will be a tool to analyze the aspects of linguistics in
those sonnets to find out the linguistic deviation. Furthermore, stylistic analysis will
be used to answer the problem statements of this study.
a. Stylistic devices
Galperin (ibid.) in Mikov (2003) argued a stylistic device is a conscious and
intentional literary use of some facts of the language in which the most essential
features of the language forms are raised to a generalized level and thereby present a
generative model. Stylistic devices carry a greater amount of information because if
they are at all predictable they are still less predictable than expressive means. It
follows that stylistic devices must be regarded as a special code which has still to be
deciphered. Stylistic devices can be shown in figure of speech.
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Stylistic devices are special codes which have to interpret deeper to find out
the pointed expression which is consciously and intentionally used to derive some
information by using special features.
For this study is a stylistic analysis, it is important to know what are stylistic
devices because in literary work it is possible to find out the figure of speech as
stylistic devices. These figures of speech will also be the factors built the linguistic
deviations in literary work, especially in form of semantic deviations.
b. Figure of speech
According to Perriene (1956) in Nofal (2011) figure of speech is any way of
saying something other than the ordinary way. For our purposes then, however, a
figure of speech is definable as a way of saying one thing and meaning another, and
we need to be concerned with no more than a dozen. There are some reasons why
figurative language is very is important.
First, figure of speech or figurative language affords us an imaginative
pleasure. Imagination may be described as the ability of the mind that proceeds by
sudden leaps from one point to another, which goes up a stair by leaping in one jump
from the bottom to the top rather than by climbing up one step at a time.
Second, figure of speech is way to bring additional imagery into verse,
making the abstract more concrete, and making poetry more sensuous. Figurative
language is a way of multiplying the sense appeal of poetry.
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Third, figure of speech is a way of adding emotional intensity to otherwise
merely informative statements and of conveying attitudes along with information.
Fourth, figure of speech is a means of concentration and a way of saying
much in brief compass. Like words, figure of speech may be multidimensional.
Obviously one of the necessary abilities for reading literature is the ability to
interpret figurative language. Every use of figurative language involves a risk of
misinterpretation, thought the risk is well worth taking.
According to Periene (1959) in Nofal (2011). Figure of speech can be divided
into: metaphor and simile, personification, apostrophe, synecdoche, metonymy,
symbol, allegory, verbal irony, overstatement or hyperbola, and understatement.
Figure of speech or figurative language is a form of creativity in literature.
Through the use of figurative language, the readers will be afforded an imaginative
pleasure. Moreover, figure of speech also makes more sense by building imagery in
verse. Figurative language has a role in creating a brief text with dense of meaning.
The researcher introduces figure of speech to the readers to complete the
knowledge about stylistic devices which covered in stylistic analysis. Furthermore,
we can find some examples of figure of speech in this study but the researcher will
not expand this study to analyze the figure of speech.
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2.1.4 Linguistic Deviation
The term ‘foregrounding’ comes from the term of art criticism, which
distinguishes between the foreground and the background of a painting. The theory of
foregrounding is probably the most important theory within stylistic analysis, and
foregrounding analysis is arguably the most important part of the stylistic analysis in
poetry. Foregrounding is very general principle of art which some way deviates from
norms which we have learnt to expect in medium used. It means that deviant
language takes an important part in foregrounding as its feature.
It is also strengthened by Leech (1969) statement who distinguishing
foregrounding into linguistic deviation and linguistic parallelism. He divides
deviation into eight different types: lexical deviation, grammatical deviation,
phonological deviation, graphological deviation, semantic deviation, dialectical
deviation, deviation of register, and deviation of historical period. In what follows,
according to G.N. Leech’s classification, the researcher will only focus this study in
syntactical deviation which is a part of grammatical deviation and lexical deviation of
Shakespeare’s Sonnets.
2.1.4.1 Phonological deviation
Phonological deviation involves even more ‘on the surface’ than those of
surface syntactic structure, so it seems that phonological deviation is less important
than lexical or syntactical deviation. Phonological deviation is a violations of word
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pronunciation. Most of phonological deviations take place in order to get rhyming
effect. Moreover, phonological deviations are proposed for effect of stress or
rhyming.
In Leech (1969) statement, phonological deviation involves breaking of
certain sound patterns. Pronunciations of words fit in here. When there is a violation
of certain sound patterns and a pronunciation from the regular pattern, we call it
phonological deviation. In poetry, phonological deviation is used for rhyming effect.
Phonological deviation can be mostly produced by graphological deviations. For
instance, words can be pronounced in an odd way for the effect of stress or rhyming.
2.1.4.2 Graphological deviation
Graphological deviation takes place when the typographical elements
(elements of writing style) are violated. The graphological deviations involve the
violation of the use of capitalization, punctuation, spacing and other normal visual
patterns of typography.
According to Leech (1969) graphological deviation is related to phonological
aspects. Graphology constitutes the typography or style of writing system. Every
language has its graphological rules. Hence, graphological deviation can occur when
there is a violation of typographical elements in poetry. The primary consideration is
the way in which letters and words as well as punctuations are arranged in different
ways on the page, so that they visually reinforce the verbal meaning. In most cases, in
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graphological deviation the use of capitalization, punctuation, spacing and the overall
shape of the poem and other normal visual patterns which are devices of typography
appear to be violated. These types of deviations emerge in the poems of Dylan
Thomas and E.E. Cummings and William Carlos Williams. These are some of the
linguistic deviations that occur mostly in poetry to produce foregrounding effects.
2.1.4.3 Semantic deviation
The concept of semantic deviation deals with the notion of meaning.
Meanings are formulated with words and sentences in specific contexts. Therefore,
the notion of meaning is governed by the rules of the language. In general, metaphors
exhibit this characteristic of deviation, for those metaphorical elements that are joined
together do not belong to each other and in the real sense of meaning, they can be
regarded as ‘nonsense’. Those deviant features produce new meanings that cannot be
found in the dictionary. For instance, if we find an expression, which says, “the sky
rejoices in the morning birth” (in Leech, 1969:153) in normal usage, sky could not
rejoice. The term rejoice refers to humanness i.e. the habit of becoming happy but sky
cannot be happy since it is inanimate. However, it is attributed human quality to refer
to its brightness or pleasant atmosphere. Paradoxical relationships also fit into this
category. Since they create inconsistent semantic relations, they look nonsensical. By
taking such foregrounded items that are semantically odd we can construct
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interpretation. Light and darkness are semantically contradicting. Therefore, the
combination possibly shows the opposition of life.
Semantic deviation naturally produced new meanings that cannot be found in
the dictionary or creates “nonsense” or paradoxical meaning from the normal rules of
the languages. It can also be produced by adding a humanness to the inanimate thing
namely personification.
2.1.4.4 Lexical Deviation
Lexical deviation refers to the departure from the norms of the lexis in the
language. Lexeme is a meaningful linguistic unit that is an item in a vocabulary of a
language and usually found in the dictionary as a headword. For instance, eat is a
lexeme, but eats, eating and etc. are words formulated from the headword. When we
find elements, which are produced by breaking this rule they are regarded as lexical
deviation. The most obvious lexical deviation occurs when poets innovate new words
that could not be found in dictionaries. Innovation or creation of new words is called
neologism and this is considered as formulating meanings beyond the normal
resources of a language.
G.N Leech (1969) stated that the invention of new “words” is one of the more
obvious ways in which a poet may exceed the normal resources of the language.
Leech calls new words “nonce formations” if they are made for the nonce i.e. for
single occasion only. The English rule of word formation permits prefixation of “fore
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to a verb, to convey the meaning “beforehand” as in foresee, foreknow, foretell and
forewarn. If this rule were completely free in its application, we would use verbs such
as foresell (sell in advance) or foreappear (appear in advance) without even noticing
their oddity. However, the rule is in fact limited to a small group of vocabulary items.
For instance, in “The Waste Land” T. S. Eliot augments the group by using the verb
foresuffered in the line:
“ And I Teresias have foresuffered all (The Waste Land, 243)
This strikes as a novelty and as a surprising extension of the expressive
possibilities of the language. Leech maintains that Eliot’s “foresuffered” is not just a
new word, but the encapsulation of a newly formulated idea that it is possible to
anticipate mystically the suffering of the future just as it is possible to foresee or have
foreknowledge of future events. Forming new words using affixes is another process
used by poets. For examples Eliot invented “unflowering”.
Jeffries (1993) contends that poets are sometimes influenced by spoke
language in their lexical choices. The influence may be from number of different
sources. It may be, for example, the choice of a poet to use a regionally distinct
vocabulary or vocabulary that is clearly colloquial, possibly even slang or taboo.
The other lexical deviation that produces foregrounding is, by way of
associating words that do not normally belong to each other and as a result the oddity
terrifies us. The lexical oddity occurs by way of associating words or inserting words,
which are referring to one concept, to words that hold another concept, like words,
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which signify political concepts to words which refer to love, forms lexical oddity.
However, the poet uses them for some affect. By this kind of innovation of words,
deviant features are produced and the effect of foregrounding emerges in poetry.
Although these deviant elements seem to be odd, they create some meanings in their
semantic relationships, which the reader will examine and extract in the interpretation
process.
The lexical deviation occurred if there is a violation of the norms of the lexis
in the language. The most obvious lexical deviation is word invention. The poet
sometimes creates an odd word to represent the image that he wants to point out.
Besides, the lexical deviations also take place in creating word by adding uncommon
or inappropriate affixation.
According to the theory of lexical deviation above, the researcher tries to find
out the lexical deviation in Shakespeare selected sonnets and take a look on them
deeper to see how influent the lexical deviation build the Shakespeare’s sonnet.
2.1.4.5 Grammatical Deviation
Leech (1969:44) stated that the grammatical deviations can be simply defined
into two main categories: morphology (grammar of word) and syntax (grammar of
how words pattern within sentences). Grammatical deviation involves breaking of the
structure of the language. Any language structure has its own way of arrangement of
the words and sentences based on the language norm. In its widest sense, it considers
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ordering of words and sentences. Thus, when a certain word order or sentence
structure is violated from the rule of that particular language structure, we call this
grammatical deviation.
Grammatical deviation refers to a disordered structure on the surface. For
instance, instead of saying ‘he came’ if we say ‘came he’ it looks strange but strikes
our consciousness to find out why it is expressed in this way. When a poet, exploit
such structures, he/she does it on purpose in most cases to give emphasis to the idea
that needs to be communicated. In poetry, we can find different grammatical
deviations other than the violation of word order.
For instance, breaking the rule of conjunctions is one of the linguistic
deviations, which occur at this level. For example, when listing some items like
‘women men children’ we have to use conjunctions like comma, or the conjunctional
word ‘and’, but here they appear without any conjunction. When we find such
deviant features in poetry, they have a stylistic effect. The poet might be trying to
show their equal significance as he lists them like this. Thus, grammatical deviation is
a very important concept in poetry as these odd characteristics signify something to
overall meaning of the poem. The odd characteristics comes from the unusual form of
sentence caused by violation of the rule in the way sentences are combined.
The researcher takes the grammatical deviation as a guide in analyzing
sonnets. She focuses this study in syntactical deviation which is meant violations
22
occurred in forming sentence. the researcher will try to find out the syntactical
deviation occurred in lines of sonnets.
2.1.5 The Concept of Sonnet
Sonnet is a poem, normally of fourteen lines, in any of several fixed verse and
rhyme schemes, typically in rhymed iambic pentameter. Iambic pentameter refers to
the structure of the line. Iambic refers to the name of the foot, which is composed of a
weaker syllable followed by an accented syllable. Pentameter simply refers to the
number of feet, in the case of the sonnet, there are five feet in pentameter. Sonnets
characteristically express a single theme or idea but the division into octaves, sestets,
quatrains and couplets allow the poet to switch the focus, dealing with a different
aspect of the idea in each section.
Gascoigne strengthen this by his quotation (1575) in Fabb(2004:57) stated
that sonnet is a poem that consists of fourteen lines, every line containing ten
syllables, the metre is iambic pentameter and having a specific rhyme scheme. Those
characteristics decided whether a text is a sonnet or not. Furthermore, Gascoigne said
that ‘sonnethood’ can be a matter of degree, perhaps based on how many of the
sonnet characteristics a text has. In means that some characteristics are more
important than others. From his statement it can be indicated that lineation and metre
are considered more important than rhyme.
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According to the statements above, it can be concluded that a sonnet is a
fourteen-line poem which have certain pattern rhyme schemes and typically rhymed
in iambic pentameter. Gill in his book Mastering English Literature (1995) stated that
sonnet is usually formed in one of the ways:
a. The Petrarchan Sonnet
The sonnet was originally made as a love poem by the Italian Renaissance
Italian poet, Francesco Petrarch. It is always the case with immortal writers that they
invent forms inresponse to their strong need to express ideas and emotions for which
they cannot find an existing form. The poets use it to express their deepest feelings on
love, death, war and religion. This sonnet is also known as Italian Sonnets which is
divided into an octave, which is typically rhymes ABBA ABBA and a sestet, which
may have varying rhyme schemes. The common rhyme patterns in the sestet are
CDECDE, CDCDCD and CDCCDC. Very often, the octave presents a situation,
attitude, or problem that the sestet comments upon the resolves.
b. The Shakesperian sonnet
Obviously, the Shakesperian or English, sonnet, structured as it is in three
quatrains and a couplet, will present a different set of opportunities to the poet. It is a
more flexible form. The poet can develop an argument in two or three stages and then
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conclude it with a couplet, or produce one idea and two variations upon it before
moving to the conclusion.
Another option is that of using the entire twelve lines to build up a picture,
recount an experience, or develop a single argument, and then using the couplet to
affirm, deny or modify what has been said.
You will see from this that the Shakespearian sonnet lays more importance on
the concluding couplet. This, in itself, is a challenge, particularly when the couplet
has to deny or overturn what the first twelve lines have been saying.
It is obvious that the sonnet is fourteen-line poem, having iambic pentameter,
and having specific rhyme scheme. To be a sonnet the text should contain those
characteristics. The characteristics form a degree where one characteristic is more
important than others. The sonnets are distinguished into Petrarchan sonnets and
Shakesperian sonnets which has their own characteristics.
The researcher will analyze some examples of Shakesperian sonnets which
are sonnet 18, sonnet 30, sonnet 33, sonnet 73, sonnet 104, sonnet 116, sonnet 129,
and sonnet 130. The sonnets contain fourteen lines divided into three quatrains and a
couplet. The rhyme is ABABCDCDEFEFGG. The sonnets above will be analyzed
whether there are lexical deviations or syntactical deviations in the lines.
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2.1.6 The Selected Sonnets of William Shakespeare
Shakespeare published 152 sonnets, and although they are all poems that are
of the highest quality, there are some that have entered deeply into the consciousness
of our culture to become the most famous of Shakespeare’s sonnets. Those sonnets
are quoted regularly by people at all levels of modern western life – sometimes
without even realizing that they are quoting a line from a Shakespeare sonnet.
The most famous sonnets approach the great universal themes of love and death, or
the slow ageing that precedes death. In our humble opinion the sonnets below
represent Shakespeare’s most famous:
Sonnet 18: Shall I compare thee to a summer’s day?
Perhaps the most famous of all the sonnets is Sonnet 18, where Shakespeare
addresses a young man to whom he is very close. It would be impossible to say
whether Shakespeare was an arrogant man because we don’t know what he was like.
We also don’t know whether he thought he was the ‘great,’ immortal writer that we
regard him as today. However, after describing the young man’s great beauty, he
suggests that his poetry is ‘eternal’ and ends by stating that as long as there are people
who can still read, the sonnet, and therefore the description of the young man’s
beauty, will still be there.
(Quoted from http://www.nosweatshakespeare.com/sonnets/shakespeare-famous
sonnets/)
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Sonnet 30: When to the sessions of sweet silent thought
An interesting take on ageing and love. The narrator describes the things that people
agonise over as they descend into old age – all the regrets and the pain of reliving the
mistakes he has made. It’s full of agony but when he thinks about his beloved all the
regrets and pain evaporate.
(Quoted from http://www.nosweatshakespeare.com/sonnets/shakespeare-famous
sonnets/)
Sonnet 33: Full many a glorious morning have I seen
This is a poem about loss; the loss of a loved one. Shakespeare approaches it by
expressing the contrast in the way we feel when the morning sun is shining brightly
and when it’s obscured by clouds, making the world a forlorn place. When he was
loved by the beloved it was like the glorious morning, but now, having lost the
beloved, it feels like an overcast and gloomy morning. He concludes that he doesn’t
condemn the beloved because human frailty, even among the best of humanity, is just
as much a part of nature as the obscuring clouds are.
(Quoted from http://www.nosweatshakespeare.com/sonnets/shakespeare-famous
sonnets/)
Sonnet 73: That time of year thou mayst in me behold
The narrator of Sonnet 73 is approaching death and thinking about how different it is
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from being young. It’s like the branch of a tree where birds once sang but the birds
have gone and the leaves have fallen, leaving only a few dry yellow leaves. It’s like
the twilight of a beautiful day, where there is only the black night ahead. It’s like the
glowing ashes of a fire that once roared. The things that one gave him life have
destroyed his life. From that experience he has learnt that one has to love life as
strongly as one can because it will end all too soon.
(Quoted from http://www.nosweatshakespeare.com/sonnets/shakespeare-famous
sonnets/)
Sonnet 104: To me, fair friend, you never can be old
Here Shakespeare expresses the love one person has for another by showing how the
beauty of the beloved doesn’t change in the eyes of the lover. He shows time passing
through the seasons and the years, everything changing. Except the beauty of the
beloved. He goes further by saying that no matter how long the world will endure,
even though the beloved is long dead there will never be another as beautiful.
(Quoted from http://www.nosweatshakespeare.com/sonnets/shakespeare-famous
sonnets/)
Sonnet 116: Let me not to the marriage of true minds admit impediments
There are two striking definitions of love that we refer to again and again. Perhaps the
most popular of the two is in Paul’s letter to the Corinthians (Corinthians 13: 4-8):
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Paul’s text is as well known as Sonnet 116 because it is used in most weddings as the
young couple stands before the minister. Nevertheless, Shakespeare’s sonnet employs
an amazing array of poetic devices to convey the eternal nature of love. Shakespeare
ends by staking everything on his observations about love by asserting that if he is
wrong about it then no-one ever wrote anything and no-one ever loved.
(Quoted from http://www.nosweatshakespeare.com/sonnets/shakespeare-famous
sonnets/)
Sonnet 129: The expense of spirit in a waste of shame
Sonnet 129 is an interesting take on the imperative force of lust, but its ultimate
shallowness. Everyone knows how shallow and guilt producing lust is but very few
men can avoid it. Shakespeare shows how lust brings out the very worst in people and
the extremes they will go to. And then he explains the guilt that follows the
satisfaction of one’s lust.
(Quoted from http://www.nosweatshakespeare.com/sonnets/shakespeare-famous
sonnets/)
Sonnet 130: My mistress’ eyes are nothing like the sun
Shakespeare is expressing the kind of love that has nothing to do with the beloved’s
looks. He satirises the usual way of expressing love for a woman – praising her lips
and her hair, the way she walks, and all the things that a young man may rave about
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when he thinks about his beloved. What he does is invert those things, assert that his
beloved is ugly, ungainly, bad-smelling etc, but ends by saying that his love for her is
as ‘rare’ as that of any young man who writes flatteringly about the object of his love.
(Quoted from http://www.nosweatshakespeare.com/sonnets/shakespeare-famous
sonnets/)
2.1.7 Previous Studies
There are some studies which are relevant to this study. They are studies conducted
by Amare, Abeba (2002) and Widodo, Meliana Sri Rahayu (2004).
1. The study of Amare, Abeba (2002)
A previous study of stylistic analysis was done by Abeba Amare (2002). In
his study, he was concerned with a stylistic analysis of some selected English poems
of three poets; namely Tsegaye G/Medhen, Solomon Deressa and Eyasu Gorfu. His
research focused on how these poets communicated their ideas through language
choices. Therefore, the central purpose of his thesis was to explore the language use
of the poets and to find out how the language conveys meanings in each given poem
and also to bring out the recurrent themes in each poet's work. The method adopted in
this study was a stylistic approach. Thus, noting and examining unique features of the
poems and their relationships as central to stylistic approach, the analysis of the
poems had been systematically carried out.
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The researcher will use the same approach with Amare which is stylistics
analysis but in different object of analysis. Concerning to the difference of the study
conducted by Abeba Amare (2002), the researcher will try to analyze syntactical and
lexical deviations instead of how the poets communicated their idea through language
which are being the focus of Amare’s study (2002). Moreover, the researcher will
find out the syntactical and lexical deviation in Shakespeare sonnets which are the
most famous of all Shakespeare’s sonnets published.
2. The study of Widodo, Meliyana Sri Rahayu (2004)
This study dealt with stylistics devices in songs, especially the songs in
Psalm, whose forms were the same with poetry. By conducting this research, Widodo
(2004) tried to find out stylistic devices and syntactic deviation that occured in the
songs of Psalm. Finally, through this research, she also wanted to find out the tone
and theme in the selected articles of Psalm. She analyzed the psalm by using some
theories. She used stylistic theory because she intended to find out the stylistics
devices that were used in Psalm. She also analyzed the syntactic deviation and lexical
selection, she uses the theory of diction and syntax. Therefore, the theories of
Pragmatics and Discourse are needed.
Widodo (2004) had conducted a study of stylistic analysis occurred in Psalm.
Her study was conducted to find out the syntactical deviation and lexical selection on
Psalm. Concerning with the differences with the previous study above, the researcher
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will try to analyze Shakespeare’s sonnets using Leech theory about linguistic
deviation through stylistic approach. The researcher will try to find out the syntactical
and lexical deviation occur in the most famous sonnets of William Shakespeare. The
researcher prefers choosing Shakespeare’s sonnet because those sonnets are famous
in indication those are regularly quoted by all western people. This previous study
gave the researcher interpretation about how analyze the literary works using stylistic
analysis and show her how the deviants build the characteristics of the poems. To
make a different study, the researcher will try to use the same approach to analyze
linguistic deviations in order to show the Shakespeare characteristics looking from
the syntactical and lexical deviation occurred in his sonnets.
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CHAPTER III
RESEARCH METHODOLOGY
In this chapter, the researcher will discuss the Design of Study, Data and
Source of Data, Research Instrument, Data Collection Procedure, and Data analysis
Technique.
3.1. Research Design
The researcher uses qualitative approach since the data is in the form of words
rather than numbers. This study attempts to describe the linguistics deviation
occurred in eight selected Sonnets of Shakespeare; covering how the stylistic-devices
are used in those sonnets. In addition, qualitative approach will be used since the
researcheris interested in studying the construction of the Shakespeare’s Sonnets
which contains the aesthetic form.
Qualitative research is not putting together a puzzle whose picture they
already know (Bodgan and Biklen, 1992:31). Thus the researcheris interested in
constructing a picture that takes shapes as she will collect and examine the verses of
the Shakespeare Sonnets. Moreover, this research is using qualitative approach to
answer the research questions.
The researcher will have the data from Shakespeare’s Sonnets edited by
Katherine Duncan-Jones as the source of data. The collected data are in the form of
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lines of Shakespeare sonnet. Those lines are considered to have lexical and
syntactical deviation. While collecting the data, the researcher will also analyze the
data at once since this study is a qualitative research. The researcher will use some
procedure in collecting the data: read the sonnets, identify the deviants and their
types, then analyze them by using linguistic deviation theory to answer the research
questions.
In conducting the study, the researcher will be the key instrument who has
knowledge all about the study. As the key instrument the researcher will be the one
who collect the data, then reduce the data in order to make it more focus and simpler
to analyze, afterwards the researcher will display the data which are ready to be
conclude and verify as the next step.
3.2. Data Collection
3.2.1 Data and Source of Data
The data for this research will be taken from Shakespeare’s Sonnets edited by
Katherine Duncan-Jones. The data are in the form of lines which are considered to
have lexical and syntactical deviation. The researcher will choose eight sonnets of
Shakespeare Sonnets as the source of data. The reason why the researcher chooses
these eight sonnets is because of the sonnets’ fame. The indication of famous for
those sonnets are since those sonnets are quoted regularly by people at all levels of
modern western life, sometimes without even realizing that they are quoting a line
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from Shakespeare’s Sonnets. These sonnets are: Sonnet 18, Sonnet 30, Sonnet 33,
Sonnet 73, Sonnet 104, Sonnet 116, Sonnet 129, and Sonnet 130.
3.2.2. Research Instrument
The instrument of the study is the researcher herself since the researcher is
considered as the expert who has much knowledge about the study included the data,
the method and the approach used in this study. This is supported by statement from
Bodgan and Biklen (1992) who suggests that in conducting qualitative research, the
researcher being the key instrument. the instrument of the study is the researcher
herself. The researcher will be the one who collects the data and conducts the
research. The researcher will collect the data which are lines considered to have
lexical and syntactical deviation from the data sources which are Shakespeare
sonnets.
3.2.3. Procedure of Data Collection
Since this study is qualitative research, the researcher will collect the data
while analyzing the data and follows the steps mentioned below:
1. The researcher read the sonnets. While reading, the researcher collects and
writes down the data by searching through the sonnets that revealed the lines
which are considered to have lexical and syntactical deviations.
2. Identify the deviants occurred in the sonnets line by line.
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3. Identify the types of those deviants
4. Analyze them by using stylistics analysis in order to find out the deviants
occurred in lines of selected Shakespeare sonnets where the researcher
intentionally look for syntactical deviation and lexical deviation as meant by
Leech’s theory about linguistic deviations
5. Analyze them to find out:
a. The syntactical deviation which is meant the violation of the normal rule
in forming a sentence.
b. The lexical deviation which is the departure from the norms of the lexis in
the language where the author creates or innovates a new words and
formulating meanings of it beyond the normal resources of language.
c. The feature of Shakespeare’s sonnets has been built by those deviants.
This feature is a aesthetic value and being the uniqueness of Shakespeare
sonnets and make them different with others.
3.3. Method of Data Analysis
To analyze the data, this study will use technique that formulated by Miles
and Huberman who stated what we have to consider to analyze. We consider that
analysis consist of four concurrent flows of activity: data collection, data reduction,
and data display and conclusion drawing/verification (1994:10).
Data Collection
Data Reduction
Data Display
Conclucions:Drawing/Verifying
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Miles and Huberman hand to formulation of analysis into four cycles that
interact each other, it is showed as he following diagram:
1. Data Collection
The researcher read the sonnets repeatedly in order to find out the lines which
are considered to have syntactical and lexical deviations occur in selected sonnets of
Shakespeare. Data collection will be done only once, but the process must be done
repeatedly. According to Miles and Huberman (1994:17), “analysis during data
collection lets the fieldworker cycle back and forth between thinking about the
existing data and generating strategies for collection new-often better quality data.”
2. Data Reduction
In this part, the researcher will use data collection sheet as reduction the data.
Every concept that iscalled category or parameter is prepared other paper. She will
choose the lines of selected sonnets which are considered to have the syntactical and
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lexical deviation guided by Leech’s theory. Besides, she will select and simplify the
data so it can be easily understood for further conclusion.
3. Data Display
Data display ready to begin by using data collection card and other data. The
reduction data will be interpreted to find out the syntactical and lexical deviations
occur in the selected sonnets. In this process, the researcher will interpret the data
4. Conclusion/verification
This step does not mean that it ends in chapter V, but the activity of analysis
to get the correct data from primary data in the sonnets. The researcher checks and
rechecks data so that data is guaranteed. This step is called drawing conclusion or
“making conceptual or theoretical coherence”. Then, the researcher tested or
rechecks, this is called “verification”. According to Miles and Huberman (1994), the
meanings of emerging from the data have to be tested their plausibly, their sturdiness,
their confirm ability, that is validity.
3.4. The Trustworthiness of Data Analysis
To have the trustworthiness of data analysis, the researcher will conduct the
procedure of triangulation. According to Denzin (1970), there are four types of
triangulation, they are:
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1. Data triangulation, which entails gathering data through several sampling
strategies, so that slices of data at different times and social situations, as well as on a
variety of people, are gathered.
2. Investigator triangulation, which refers to the use of more than one researcher in
the field to gather and interpret data.
3. Theoretical triangulation, which refers to the use of more than one theoretical
position in interpreting data.
4. Methodological triangulation, which refers to the use of more than one method for
gathering data.
In this research, the researcher will apply two types of triangulation namely
theoretical triangulation and investigator triangulation. The researcher choose the
theoretical triangulation since the researcher hold the study with several theory
namely theory of poetry, theory of stylistic, and theory of linguistic deviations.
Besides, the researcher also uses the investigator triangulation. In this case, the
researcher will work together with another investigator of this study who are
considered who have good knowledge in the field of her study.
