Stylistic Analysis of William Blake's “The Little Boy Lost”

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STYLISTIC ANALYSIS OF WILLIAM BLAKE’S “THE LITTLE BOY LOST” AND “THE LITTLE BOY FOUND”

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements For the Degree of Sarjana Sastra in English Letters

By OLYVIA VITA ARDHANI Student Number: 174214093

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2021

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STYLISTIC ANALYSIS OF WILLIAM BLAKE’S “THE LITTLE BOY LOST” AND “THE LITTLE BOY FOUND”

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements For the Degree of Sarjana Sastra in English Letters

By OLYVIA VITA ARDHANI Student Number: 174214093

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2021

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

THIS THESIS IS DEDICATED TO MY BELOVED

SISTER IN HEAVEN.

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ACKNOWLEDGEMENTS

My highest gratitude goes to the Lord who showers me with His blessing throughout my life. Then, my deepest gratitude to my thesis advisor, Arina

Isti’anah, S.Pd., M.Hum, and my co-advisor Anna Fitriati, S.Pd., M.Hum, who never get tired in guiding me to finish my undergraduate thesis. My gratitude also goes to all the lecturers and staff in Universitas Sanata Dharma for their kindness during my study here.

To my parents, St. Suparmanto and YF. Warsini, who have worked hard in raising me until today, I thank you for the everlasting love and unlimited prayer that you give to your one and only daughter. I know I am not yet making you proud of me, but I will try my best to make you proud of me. Moreover, I want to thank to my soul sisters, Mba Astri, Kak Ayu, Sasha, Rosa, and Vania who always by my side whenever I need help in writing this undergraduate thesis. I also want to thank all my college life’s friends who have been with me through my ups and downs.

Olyvia Vita Ardhani

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TABLE OF CONTENTS

TITLE PAGE……………………………………………………….………...….ii APPROVAL PAGE………………………………………………….…………. iii ACCEPTANCE PAGE ……………………………………………………...... iv STATEMENT OF ORIGINALITY………………………………....…………..v LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH ………………………………………………….vi DEDICATION PAGE…………………………………………………...……...vii ACKNOWLEDGEMENTS…………………………………………………...viii TABLE OF CONTENTS………………………………………………………..ix ABSTRACT……………………………………………………………………..xii ABSTRAK………………………………………………………………………xiii

CHAPTER I: INTRODUCTION…………………………………………...…...1

A. Background of the Study………………………………….……………1 B. Problem Formulation………………………………...…………....…... 4 C. Objectives of the Study………………………………………….….… 4 D. Definition of Terms…………………………………………………... 5

CHAPTER II: REVIEW OF LITERATURE…………………….…………….6

A. Review of Related Studies……………………….…………..………...6 B. Review of Related Theories………………………….………...……….9 1. Stylistics…………………………………………………..……. ….9 2. Graphological Level………………………………………………10 a. Capitalization………………………………………….………10 b. Punctuations……………………………………...…….……...11 i. Apostrophe………………………………….….…….…….12 ii. Commas…………………………………….………..…….12 iii. Period………………………………….………………….13 iv. Ampersand…………………………………………..…….13 3. Phonological Level……………………………….…………….…14 a. Alliteration………………………………………………...…..14 b. Assonance……………………………………….….………....14 c. Consonance…………………………………………...……….15 d. Rhyme………………………………………………...……….15 i. Internal Rhyme……………………………………...……...15

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ii. Masculine Rhyme………………………….………….…..16 iii. Pararhyme……………………………………….…….…..16 iv. Eye Rhyme………………………………………….……..17 4. Lexical Level……………………………………………….…….17 a. Metaphor………………………………………………...…….17 b. Simile…………………………………………………...……..18 c. Imagery……………………………………………….……….18 d. Symbolism……………………………………...……………..18 5. Syntactic Level…………………………………………...…...... 19 a. Simple Present Tense……………….….……………………...19 b. Present Progressive Tense………………………...…………...20 c. Simple Past Tense………………………………….……...... 20 d. Repetition………………………………………...... 21 6. Poem…………………………………………………...... ……...21 C. Theoretical Framework………………………………………....…….22

CHAPTER III: METHODOLOGY…………………………………….……...24

A. Object of the Study……………………………………………....……24 B. Approach of the Study…………………………………………...…....25 C. Method of the Study……………………………………………...... 25 1. Data Collection…………………………………………….….…..25 2. Data Analysis……………………………………………….……..26

CHAPTER IV: ANALYSIS AND DISCUSSIONS…………………………....28

A. Language Features in William Blake’s “The Little Boy Lost” and “The Little Boy Found” ……………………………….…...…….28 1. The Little Boy Lost Poem………………………………....………..28 a. Phonological Level……………………………………………29 b. Graphological Level……………………………………...…...34 c. Lexical Level………………………………………….……….35 d. Syntactic Level………………………………………...……...37 2. The Little Boy Found Poem…………………………….…...……...39 a. Phonological Level……………………………………………39 b. Graphological Level……………………………………...…...43 c. Lexical Level………………………………………………….46 d. Syntactic Level………………...……………………………...48 B. The Depicted Interpretation in “The Little Boy Lost” and “The Little Boy Found” ……………………...……...…...……………….….…..48 1. Loneliness in “The Little Boy Lost” ………….…………………..49

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2. Redemption in “The Little Boy Found” ……………………...……52

CHAPTER V: CONCLUSION…….……………………………………….….55 REFERENCES…………………………...………………………………….….58 APPENDICES……………………………….………………………………….62 Appendix 1: “The Little Boy Lost” Poem………….……………….…...…....62 Appendix 2: “The Little Boy Found” Poem……………….…………….……63

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ABSTRACT

ARDHANI, OLYVIA VITA. (2020). Stylistic Analysis of William Blake’s “The Little Boy Lost” and “The Little Boy Found”. Yogyakarta: Department of English Letters, Faculty of Letters, Universitas Sanata Dharma.

A literary work and a language have close relationships, a literary work as the media to express the authors’ thought, while a language is used to transfer the meaning conveyed. This research analyzed two poems by William Blake entitled “The Little Boy Lost” and “The Little Boy Found” from a stylistic point of view. Stylistic study is applied to analyze the language features in the poems and to reveal the meaning depicted. In conducting the research, there are two research questions. First, this research proposed to analyze the language features used in “The Little Boy Lost” and “The Little Boy Found.” Second, it is intended to identify the depicted meaning in each poem. This research employed stylistics as the tool to analyze the poems. In answering the first problem, four language levels: phonological, graphological, lexical, and syntactic level proposed by Verdonk are applied. The second problem formulation is answered by linking up the finding in language features to get the meaning of the poems. In phonological level, assonance, consonance, alliteration, and rhyme are found. These phonological features help to draw the meaning. In lexical level, imagery, metaphor, simile, and symbolism contribute the most in understanding the implied meaning of the poem. Punctuation and capitalization in graphological level make the reader easier identify the meaning. Tenses and word repetition in syntactic level are used to explain the meaning of the poems. Moreover, the poem contain of present progressive tense which explain the process of the disappear of the father. Through the use of language features, the depicted meaning could be achieved. Those poems tell the reader about human loneliness and the redemption for the human.

Keywords: language features, poem, stylistics.

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ABSTRAK

ARDHANI, OLYVIA VITA. (2020). Stylistic Analysis of William Blake’s “The Little Boy Lost” and “The Little Boy Found”. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma.

Karya sastra yang merupakan karya seni sangat berhubungan dengan bahasa. Selain itu, karya sastra berfungsi sebagai media komunikasi untuk mentransfer makna yang disampaikan oleh penulis. Penelitian ini menganalisis dua puisi karya William Blake berjudul “The Little Boy Lost” dan “The Little Boy Found” dari sudut pandang stilistika, yang berfungsi untuk menganalisis aspek- aspek kebahasaan dalam puisi dan mengungkap makna yang terkandung di dalamnya. Dalam penelitian ini, ada dua rumusan masalah. Pertama, penelitian ini bertujuan untuk menganalisis aspek-aspek bahasa yang digunakan dalam puisi ini. Kedua, untuk menafsirkan makna yang digambarkan melalui aspek-aspek bahasa dalam setiap puisi. Dalam menjelaskan rumusan masalah pertama, diterapkan empat tingkatan bahasa yang dimiliki Verdonk, yaitu tingkat fonologis, grafologi, leksikal, dan sintaksis. Rumusan masalah kedua dijawab dengan menghubungkan temuan dalam aspek-aspek bahasa untuk menafsirkan makna puisi itu sendiri. Pada tingkat fonologis ditemukan asonansi, konsonansi, aliterasi, dan rima. Ciri-ciri fonologis ini berfungsi untuk membantu menggambarkan artinya. Pada tingkatan leksikal, perumpamaan, metafora, simile, dan simbolisme yang berkontribusi paling besar dalam memahami makna yang terungkap puisi tersebut. Tanda baca dan penggunaan huruf kapital pada level grafologi memudahkan pembaca mengidentifikasi arti puisi. Pada tingkat sintaksis, tenses dan pengulangan kata digunakan untuk memperjelas makna dalam puisi tersebut. Di dalam puisi ini ada present progressive tense yang menjelaskan proses menghilangnya ayah. Melalui penggunaan aspek-aspek bahasa, makna yang digambarkan dapat dicapai. Puisi-puisi ini menceritakan tentang kesepian dan penebusan bagi manusia.

Kata kunci: language features, poem, stylistics.

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CHAPTER I

INTRODUCTION

A. Background of the Study

A literary work is a piece of art that is expressed in the form of writing. It is imaginative and creative writing. A literary work could be in the form of a poem, drama, prose, or novel. The authors express what is going on in their lives and deliver a message for the readers through their writing; therefore, language is needed to fulfil those purposes. According to Belfarhi (2013) & Sunderland (2016), literary work is creative writing aesthetically, and there are messages or meanings conveyed by the authors.

There is a correlation between a literary work and a language, a literary work as the media to communicate and express the idea for human's life. In contrast, a language is used to transfer the idea or the meaning conveyed. Wales (2011) mentions that language is the communication system produced by the speech community, thus distinguished from language as the general faculty possessed by human beings and language as individuals' specific verbal behaviour in speaking and writing. In other words, human beings need language to deliver messages to each other.

A literary work has a distinct linguistic feature than the standard language because they have different purposes. According to UI (2014), the standard language usages carry communication, while a literary work has no purpose as such. The language used in literary work is named as style (UI, 2014). Leech &

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Short (2007) state that style is how the language is used in a given context, by a given person, for a given person. Tezcan (2014) adds that style is generally accepted as the linguistic habit of the author, and stylistics is the study of style within a text.

“Stylistics, the study of style, can be defined as the analysis of distinctive expression in language and the description of its purpose and effect.” (Verdonk, 2002, p.4).

Barry (2002) adds that stylistics is a critical approach that uses the method and findings of linguistics to analyze a literary text. Stylistic analyses focus on the author's language in a literary text, and it may provide the readers with valuable data for a more objective analysis of literary works. Therefore, stylistic analysis is needed to interpret the literary work to grasp the text's message or meaning.

Leech & Short (2007) mention that distinguishing the level of language is necessary. Language could be distinguished into four levels: the lexical level, syntactic level, phonological level, and graphological level. Lexical level deals with the meaning of the language, while the syntactic level deals with the structure of the sentences. Phonological level deals with speech sound, and the graphological level deals with typographical features of the text. Furthermore, the syntax is the level of lexico-grammatical form, which mediates between the levels of sound and meaning.

William Blake was born in Soho district of London, England on November

28, 1757. He began writing literary work at an early age; on the other hand, he was also an engraver and illustrator. His first printed work is Poetical Sketches (1783).

His most famous collections are Song of Innocence in 1789 and followed by Song of Experience in 1794. The interpretation of these two collections is a mythical

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dualism. A mythical dualism is a pair of words that shows contradiction. Frye

(1969) mentions that “innocence” represents the unfallen world, while “experience” represents the fallen world. Moreover, William Blake wrote two contradictive poems entitle “The Tyger” and “The Lamb.” Those titles show opposite meanings.

“The Little Boy Lost” and “The Little Boy Found” are found in Song of

Innocence's book. Both are written in a short and simple poem, but they have inherent meaning for the readers. “The Little Boy Found” is the sequel to “The

Little Boy Lost”. Therefore, they are related to each other.

Several studies have been done by some scholars. The first previous study is conducted by UI (2014). He utilized stylistic analysis to analyze a poem titled

“Their Eyes Were Watching God” and its Turkish translation. More precisely, he employed a foregrounded perspective to compare those poems. The recent study applied two different poems but the same author. The previous study is done by

Tezcan (2014). He analyzed a poem by William Faulkner and its Turkish translation using stylistics analysis, while the recent study uses different poems and not translated poems. The next research is conducted by Syahputra, Manurung & Sinar

(2018). They analyzed a poem titled “The Bird's Complaint” using stylistic analysis, but only from the phonological level. Simultaneously, the recent study used two poems and analyzed from syntactic, phonological, lexical, and graphological level.

Those previous studies motivate the researcher to do linguistic research on literary work. The researcher has selected two poems entitled “The Little Boy

Lost” and “The Little Boy Found” by William Blake. From those titles, a particular

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idea might appear in the reader's mind. The researcher is interested in analyzing those poems because of William Blake's style in writing mythical dualism into his poems. Nevertheless, the researcher concerns how the author communicates the idea "found" and "lost" in the title. This study will reveal the meaning of these literary works from the linguistics perspective.

B. Problem Formulation

According to the explanations above, the researcher proposes two problems that would be discussed in this study. The problems are presented as the following:

1. How are language features used in “The Little Boy Lost” and “The Little Boy

Found”?

2. What interpretation is depicted in “The Little Boy Lost” and “The Little Boy

Found”?

C. Objectives of the Study

There are two research objectives analyzed in this study. The first goal is to identify the language features used in William Blake's “The Little Boy Lost” and

“The Little Boy Found”. The language features found in those poems are analyzed in four language levels: the lexical level, syntactic level, phonological level, and graphological level. The second goal of this study is to discover the interpretation of each poem through the language features used.

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D. Definition of Terms

This part is done to prevent misunderstanding on specific terminologies.

The researcher would define those terminologies that are mentioned later in this study. There are three terminologies: stylistics, language feature, and poem.

According to Leech & Short (2007, p.11), “stylistics is the study of style, is rarely undertaken for its own sake, simply said as an exercise to describe what use is made of language.” “Stylistics is the integrated study of language and literature.”

(Gibbons & Whiteley, 2018, p.3).

The second terminology is the language feature. Language feature refers to linguistic context, which is the surrounding inside a text, like typography, words, sounds, phrases, and sentences relevant to the interpretation of the text (Verdonk,

2002). Language features in the stylistic study are obtained through language level analysis; graphological, syntactic, lexical, and phonological level.

The last terminology is a poem. A poem is a language that means more than it. According to Wolosky (2001), a poem is a language in which every element inside is significant, every element stands for further relationships among and beyond themselves. Each word in a poem has a specific place and overarching pattern; altogether, they create meaningful and aesthetic designs (Wolosky, 2001)

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CHAPTER II

REVIEW OF LITERATURE

This chapter reviews several previous studies related to this present study, related theories, and theoretical framework. The first section reviews several related studies. Those related studies are two undergraduate theses by Krismarini and Putri, and two journal articles by Mahmood & Jamil, and Baigy & Zarrinjooee. The second section reviews related theories that underlie the research: stylistics, language levels, and poems. The last section is a theoretical framework. This section explains the contribution of each theory in answering the problem formulations.

A. Review of Related Studies

The first related study is an undergraduate thesis entitled “Stylistic Analysis of Maya Angelou’s “When Great Trees Fall” by Krismarini (2020). This research aimed to analyze the linguistic features used and found out the depicted meaning of the poem. She found out that the phonological features are used to create aesthetic effects and to attract the readers. From the graphology level, the poem only uses periods and commas. Periods are used to sign that the sentence is written in a line, and commas are used to join words, phrases, and clauses to be a sentence

(Krismarini, 2020). In the syntactic level, the poem uses the present tense and past tense. This tenses' shifting shows the period conveyed by the poem. Furthermore, there are repetitions in the last stanza. These repetitions are highlighting the

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message for the readers. This study concludes that this poem is about racism, grief, oppression, and sincerity.

The next related study is a journal article by Mahmood & Jamil (2015) entitled “Stylistics Analysis of “Holly Thursday I” By William Blake”. This study intended to analyze Blake’s “Holly Thursday I” from a stylistic perspective in analyzing Blake’s style in writing poems. They figured out the use of capital letters and punctuations in the graphological level. “Capital letters are used to show the great importance words in the poem, while punctuations are used to mark different views in the poem” (Mahmood & Jamil, 2015). In the semantic level, they found out metaphors, symbolism, and simile are used by the author. Those semantic features are utilized to represent the figure of innocent children.

“This poem has a straightforward grammar structure” (Mahmood & Jamil,

2015). There is no helping verb, no grammatical rules, free structure, and mostly use prepositions. It shows that in writing the poem, Blake delivers his idea into a poem smoothly; the idea is related to each other and could not be separated.

Moreover, this poem also employs effortless lexical items. According to Mahmood

& Jamil (2015), this poem defined the beauty and irony of the church tradition. This study concludes that the stylistic analysis of this poem has shown that there are dissimilarities between poetic and non-poetic language as a means of defining literature.

The third related study is an undergraduate thesis entitled “Stylistic

Analysis in Emily Dickinson’s “I felt a Funeral, in my Brain” and “If I should die” by Putri (2020). This research intended to discover how the language features used

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and the interpretation. In the lexical level, she identified the metaphor, simile, imagery, personification, and symbol carry meanings of the poems. In the phonological level, assonance and consonance are found in segmental features.

While in suprasegmental features, there are masculine rhyme and pararhyme. Those phonological features mostly contribute to conveying the meaning of the poem. In graphological level, she only focused on punctuations and capitalization, which add deeper understandings of the poem better as those features highlight the important words. Both poems use different tenses and repetitions to give the meaning of the poems in the syntactic level. Both poems share the same theme, death. However, through the language feature, “I felt a Funeral, in my Brain” represents depression, while “If I should die” reveals the acceptance and the feeling about death.

The last related study is conducted by Baigy & Zarrinjooee (2014) entitled

“Giffordian Post-Pastoral and Loss of Innocence in William Blake’s “The Little

Boy Lost” and “The Little Boy Found”. This research aimed to discover the loss of innocence in Blake's “The Little Boy Lost” and “The Little Boy Found” based on

Giffordian post-pastoral theory through interpreting three crucial features. Those three crucial features are the exploitation of natural world parallel and exploitation of hapless children as minorities, the need for culture as nature and vice versa, and the need for consciences to heal consciousness as a source of alienation. This study concludes that “The Little Boy Lost” indicates the possibility of loss and innocence, which is resulted from cheap children labour and exploitation during the industrialized system as the most valuable things for business people. Furthermore,

“The Little Boy Found” depicts a possibility of New Jerusalem as equal to the ideal

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culture as well as God’s promises of paradise in heaven for those young-innocent children.

Those three previous studies that are conducted by Krismarini, Mahmood

& Jamil, and Putri are similar to the present research in the approach of the study, stylistics. However, the dissimilarities lie in the objects that are analyzed. Thus, those previous studies help the present study in analyzing the poems. The previous study by Baigy & Zarrinjooee used the same poems to be analyzed with the present study. Nevertheless, the present study conducted a stylistic study, which is from a linguistic perspective. In contrast, the previous study conducted a Giffordian post- pastoral study, which is from a literature point of view. Therefore, this present study develops new ideas in interpreting “The Little Boy Lost” and “The Little Boy

Found” through linguistic perspective.

B. Review of Related Theories

This section reviewed the theories that would be used to analyze the object of the study. The theories would be explained as follow:

1. Stylistics

In writing a poem, authors have their writing style, and stylistics is the study of style within a text. “Stylistics is the study of style, is rarely undertaken for its own sake, simply said as an exercise to describe what use is made of language”

(Leech & Short, p. 11, 2007). Therefore, the authors have their style in writing a poem to distinguish their poems to other poems. As supported by Leech & Short

(2007) that stylistics is the study of style. Style refers to the perceived, distinctive

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manner of expression in writing or speaking (Wales, 2011). Author’s style could be seen through their diction, figurative language, grammar, and punctuation.

According to Leech & Short, “the goals of literary stylistics explain the relation between language and its artistic function” (p.11, 2007). Gibbons &

Whiteley (2018) add that stylistic is an integrated study of language and literature.

The stylistic literature study applies the theories and ideas from language studies and provides an understanding of the language's structure and function. There are four language levels, according to Verdonk, that the researcher is utilized to analyze the poems. Those are graphology, phonology, lexis, and syntax (Verdonk, 2002, p.58).

2. Graphological Level

Graphology is a linguistic level of analysis that comprises the study of visual aspects of language (Jimenez, 2015, p. 71). Wales adds that graphology refers to the writing system of language, as manifested in handwriting and typography

(2011). It is supported by Leech (1980) that graphology refers to the whole writing system: punctuation, paragraphing, and spelling. Jimenez believes that graphological deviation may affect meaning and produce aesthetic effects (2015).

Above all, graphology deals with the shape of text, including punctuation and capitalization, and gives more profound meaning and effect to the reader. a. Capitalization

Capitalization is writing a word with its first letter in a capital letter.

McCaskill mentions that word that should be in written in capital letters are (1) the

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first word of sentences, (2) lists, (3) questions, (4) headlines, (5) acronyms and abbreviations, and (6) proper noun and adjective (1998, p. 76-89).

In writing poems, capitalization intends to infer something beyond the words' simple meaning, usually meaning deeper (Zhan, 2013). In other words, capitalizations used to emphasize important words. Below is the example of capitalization in Blake’s “London”.

In every cry of every Man, In every Infants cry of fear, In every voice; in every ban, The mind-forg’d manacles I hear

In the poem above, Blake uses capitalization in words “Man” and “Infants” that do not need to be capitalized according to McCaskill above. They are capitalized to emphasize the words because there is depth meaning other than those words' literal meaning. “Man” is capitalized to underlie the whole of urbanized society has gone to the state of moral decay and misery (Zhan, 2013). Moreover,

Blake capitalizes “Infants” to show something beyond just children that the persona meets, also innocence, which is being corrupted fear, here they have to fear and be afraid (Zhan, 2013). b. Punctuations

McCaskill says that punctuation is used to clarify the meaning of a text and make the reader more comfortable understanding the text (1998). Crystal (1994) states that punctuation plays an important role in the modern writing system, yet its significance is regularly underestimated. McCaskill (1998, p.44) also mentions four functions of punctuations: they (1) separate (a period separates sentences), (2) group or enclose (parentheses enclose extraneous information), (3) connect (a

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hyphen connects a unit modifier), (4) impart meaning (a question mark may take an otherwise declarative sentence interrogative). i. Apostrophe (‘)

An apostrophe is used to mark elision in informal writing, indicate possession, and a rhetorical figure in the traditional poetic and dramatic language

(Wales, 2011). It is supported by McCaskill that the functions of apostrophe are to indicate possession; to form the plurals of abbreviations, characters, and signs; and to indicate omitted characters in contradictions (1998). It can be seen in Browning's

“Patriot into Traitor” below.

‘Tis God shall repay: I am safer so.

The line above use an apostrophe in the beginning to address God, which is a non- existent person. As stated by Ahmed & Irshad (2015), “apostrophe in the literature indicates the arrangement of words addressing a non-existent person or an abstract idea in such a way as if it were present and capable of understanding feelings.” ii. Comma (,)

The function of a comma is to separate and to enclose elements of a sentence

(McCaskill, 1998). Ahmed & Irshad add that the comma is placed to provide brief pauses or separate thoughts (2015). The use of commas could be seen in Mark

Doty’s “The Embrace” below.

just a little tired, your handsomeness tinged by grief or anticipation, which brought to your face a thoughtful, deepening grace.

The comma used by the poet above is to separate the idea and to give pause. It makes the readers get the message easier.

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iii. Period (.)

“Period referred to a 'circuit' of speech, so any kind of well-rounded sentence, often leading to climax” (Wales, 2011, p. 312). A period is used to sign that a sentence is already in a complete thought and separate to another sentence.

Ahmed & Irshad (2015) added that periods are used on the completion of an idea.

In Maggie Smith’s “Good Bones” below, it could be found the use of period.

For every bird there is a stone thrown at a bird. For every loved child, a child broken, bagged, sunk in a lake. Life is short and the world

The period used in line 1 and 3 above indicates that the idea in those lines has already completed, and followed by another idea in the following line. Thus, the period is used to separate the idea. iv. Ampersand

Nowadays, ampersand officially became the 27th letter in the English alphabet, existing as the graphical representation of the word “and” (Gibson, 2017).

This ampersand is the only alphabet that does not represent speech sound. Gibson also mentions that there are three correct usages of ampersand: (1) Clarity within lists, (2) Accreditation, and (3) Referencing. The ampersand could be seen in “The

Little Boy Lost” below.

The mire was deep, & the child did weep (line 3/stanza 2) And away the vapour flew. (line 4/stanza 2)

The ampersand above is used to avoid repetition of the word “and” because there is also “and” in the following line and still in the same sentence.

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3. Phonological Level

Phonology is essentially the description of the system and patterns of speech sounds in a language (Yule, 2006, p. 43). Phonology studies how speech sounds organized in a particular language. Simpson (2004) states that sound patterning plays a pivotal role in literary discourse in general, and poetry in particular (p.14).

In poetic language, sound patterns could be found in alliteration, assonance, rhyme, and elisions (Wales, 2011). a. Alliteration

Alliteration is the repetition of the initial consonant in two or more words

(Wales, 2011). Simpson adds that alliteration is a type of rhyme scheme which is based on similarities between consonant (2004, p. 16). The example of alliteration could be seen in Browning’s “Patriot into Traitor” below.

“With myrtle mixed in my path like mad:”

Inline above, the bilabial voiced /m/ is repeated four times. The sounds are repeated in the word "myrtle", "mixed", "my", and "mad". b. Assonance

Assonance is a repeated vowel sound (Gibbons & Whiteley, 2018).

Assonance is used for a variety of expressive effects (Wales, 2011, p.35). Below is an example of assonance from Allama Iqbal’s “The Bird’s Complaint”.

“Which source of happiness in my nest did form”

The assonance occurs in two words, they are “which”, “happiness”, “in”, and “did” in which all of the words have the same vowel sound /ɪ/.

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c. Consonance

Nøgaard, Busse & Montoro (2010) adds that the repetition of consonant sounds irrespective of position; others employ the term to refer to the repetition of final consonant sounds only (p.63). The consonance could be found in Allama

Iqbal’s “The Bird’s Complaint” below.

“Those garden’s springs, those chorus of chimes”

The sound /s/ is repeated four times in the words “garden’s”, “springs”, “chorus”, and “chimes”. d. Rhyme

According to Nøgaard, Busse & Montoro, rhyme is the repetition of the last stressed vowel and the following speech sound in two or more words, mostly the position at the end of verse-lines (2010). Abrams adds that “standard rhyme consists of the repetition, in the rhyming words, of the last stressed vowel and of all the speech sounds following that vowel.” (1999, p. 273). i. Internal Rhyme

According to Wales (2011), internal rhymes occur at the end of the metrical line; within the lines. It is sound, not spelling (p. 371). It is supported by (Gibbons

& Whiteley, 2018) that internal rhyme occurs within a single line of the poem. So that in one line contain the same rhymes. Below is an example of internal rhyme from Edgar Allen Poe's “The Raven”.

Once upon a midnight dreary, while I pondered, weak and weary,

The internal rhyme lies in words "dreary" and "weary." They share the same vowel ended /i/.

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ii. Masculine Rhyme

Masculine rhyme consists of a single stressed syllable (Nøgaard, Busse &

Montoro, 2010). Wales (2011) mentions that masculine rhyme is typically a monosyllabic content word (p. 258). An example of masculine rhyme could be found in Rupert Brooke’s “The Old Vicarage” below.

Stand the Church clock at ten to three? And is there honey still for tea?

The masculine rhyme in the poem lies at the end of the lines. The word “three” and

“tea” end with the same vowel /i;/. iii. Pararhyme

It refers to rhyming words where the final consonant sound is the same

(Nøgaard, Busse & Montoro, 2010). “Pararhyme appears to be synonymous with half-rhyme and consonance in that it refers to the repetition of final consonants with variation in the preceding vowels.” (Wales, 2011, p. 303). It is also called slant rhyme, apophony, and half-rhyme or off rhyme (Ufot, 2013). Pararhyme could be found in Dickinson’s “I heard a Fly buzz – when I died” below.

The Eyes around – had wrung them dry – And Breaths were gathering firm For that last Onset – when the King Be witnessed – in the Room –

The pararhyme in the poem above lies at the end of the second and fourth lines. The word “firm” and “room” end with the same sound /m/, even though the last stressed vowel is different.

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iv. Eye Rhyme

Wales (2011) mentions that identical spelling but with different pronunciations produces eye rhyme (p. 371). In other word, eye rhyme occurs when two words have similar ending but different vowel sounds and pronunciation, such as in the words “come” and “home”. Eye rhyme could be found in William

Shakespeare's “Shall I compare thee to a summer’s day?” below.

Shall I compare thee to a summer’s day Thou art more lovely and more temperate. Rough winds do shake the darling buds of May, And summers’s lease hath all too short a date.

The word “temperate” and “date” is considered as eye rhyme since it occurs in the words whose ending are spelt alike /t/.

4. Lexical Level

Lexical level deals with the word we use and the vocabulary of a language

(Simpson, 2004). Language features that are observed in this research are a figure of speech. A figure of speech is a term that refers to puzzling and exciting words that will bring pleasure (Gill, 1995). a. Metaphor

Metaphor is a process of mapping between two different conceptual domains (Simpson, 2004). Abrams (1999) said that metaphor is a word or expression that in literal usage denotes one kind of thing is applied to a distinctly different thing, without asserting a comparison (p. 97). In Robert Frost’s “Fire and

Ice”, he compared two opposite destructive things, fire and ice. Fire is associated with a desire to hate and jealousy; similarly, ice is associated with hate.

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b. Simile

A simile is a speech figure whereby two concepts are imaginatively and descriptively compared (Wales, 2011, p. 383). Nørgaard, Busse & Montoro (2010) add that in simile comparison is made explicit by means of ‘as’ and ‘like’ (p.107).

Simile could be found in Wordsworth’s “I Wandered Lonely as a Cloud” below.

I wandered lonely as a cloud That floats on high o’er vales and hills,

The simile used above is used to compare “I” to a wandering cloud away from the landscape. Thus, it makes the reader feel as the poet is literally floating free like a cloud from his/her environment. c. Imagery

Wales (2011) said that imagery is the common sense of a mental picture of an object combined with the sense of a ‘picture’ evoked in words (p. 215). The imagery focuses in forming the theme of a poem, its concrete quality (Gill, 1995).

An example of imagery could be seen in William Blake’s “London” below.

How the Chimney-sweepers cry Every blackning Church appalls,

From those lines, what he hears becomes something he sees. He hears Chimney cry, then he sees the churches, which are getting blacker and appalled. d. Symbolism

In literary criticism, a symbol is applied only to a word or phrase that has significant meaning beyond itself (Abrams, 1999). Poetic symbols are characteristically metaphoric in structure (Wales, 2011). The example of symbolism could be found in Browning’s “Patriot into Traitor” below.

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It was roses, roses, all the way With myrtle mixed in my path like mad:

There are three symbols found above; roses, myrtle, and path. Roses symbolizes welcome with respect, honour, and passion. Myrtle symbolizes purity, love, innocence, and generosity. Path symbolizes the political career.

5. Syntactic Level

Syntactic deals with the way words combine with other words to form phrases and sentences (Simpson, 2004, p. 5). According to Yule (2006), the syntax is studying the structure and order of components within a sentence. In line with

Yule, Carnie (2012) states that syntax is the level of language which mediates between sounds that someone organized into word and the intended meaning. The syntax could be related to grammar, and it is called lexicogrammar (Morley, 2000).

Tenses are one prominent element in English grammar. Tense is a linguistic concept that denotes the form taken by the verb to locate the situation referred to in time

(Declerck, Reed & Cappelle, 2006). The poem discussed in this research uses a few of English tenses, such as simple present tense, present progressive tense, and simple past tense. In line with tenses, repetition is also discussed here. Word repetition is also included in syntactic because it identifies the repeated element that is a word. a. Simple Present Tense

Simple present tense expresses events or situations that always exist, usually, habitually (Azar, 1999). Azar also states that simple present tense indicates something that was true in the past, is true in the present, and will be right in the

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future (2002). The simple present tense is also used to express habit. The example of simple present tense could be found in Blake's "The Ecchoing Green” below.

The Sun does arise, And make happy the skies.

The simple present tense lies in the use of the verb “does” and “make”. Those verbs are in present form. b. Present Progressive Tense

Present progressive tense gives the idea that an action is in progress at the moment of speaking (Azar, 1999). Present progressive tense uses the present participle verb. It is a temporary activity that began in the past, is continuing in the present, and probably will end in the future (Azar, 1999). The example of present progressive tense could be found in Angelou’s “Night” below.

Your cousin’s taking smake

“The apostrophe s there stands for to be is that undergoes contraction” (Aritonang, p. 51, 2019). After the to be, it is followed by verb-ing (taking). Thus the line above is written in the present progressive tense. c. Simple Past Tense

According to Azar, simple past tense is used to express something that began and ended in the past (1999). The characteristics of simple past tense are the verb and the time expression. Simple past tense uses a past verb form, and uses time expressions such as yesterday, last night, just now, and this morning. The example of simple past tense could be seen in Blake’s “The Little Black Boy” below.

She took me on her lap and kissed me, And pointing to the east began to say.

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The verb “took”, “kissed”, and “began” are in the past form. The two lines above are written in the simple past tense. It could be seen from the structure of the sentences, subject + past form (V2). d. Repetition

Repetition is used to emphasize something important or out of the intensity of feeling (Wales, 2011). Gill also states that repetition of words could reveal something of importance about the poem as a whole (1995). In Blake’s “London” repetition is applied.

I wander thro’ each charter’d street, Near where the charer’d Thames does flow. And mark in every face I meet Marks of weakness, mark of woe.

The word “mark” is repeated three times in “London”. Blake wants to deliver the important message from this poem through the word "mark". It shows that life in

London marks people like a disease; and that is the poem about the outer and inner corruption in London generated in people (Gill, 1995).

6. Poems

A poem is a literary text in which the poet expresses an idea or feeling in an imaginative-powerful word. It is supported by Culler (1997) a poem is a literary work that makes abundant use of figures of speech and language that aims to be powerfully persuasive (p.69). According to Gill (1995), poems are unusual in the way the word is used. Gills also mentions that poems are unusual because (1) organized into fixes lines, (2) lines organized into verses, (3) lines that are rhythmical, (4) words that rhyme, (5) words arranged in non-standard order, and

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(6) words used with special meanings (1995, p.3). Hence, Gills highlights that

“poems are not like ordinary speech or writing; they are specially made objects in words." (1995, p.4). The extraordinary diction and structure are chosen to raise the readers’ attention.

C. Theoretical Framework

Several theories that have been reviewed above turn out to be the guidelines for the researcher to solve the two problem formulations. The researcher analyzed those poems based on its language level, according to Verdonk (2002, p. 58). As the leading theory in this research, stylistics helps the researcher reveal the language features used in the poems. After analyzing the language features, the interpretation depicted in each poem is revealed through the language features that have been analyzed.

The first research problem is answered by applying stylistics theory. There are four language levels in stylistics study to analyze those poems proposed by

Verdonk (2002). In the graphological level, the use of capitalization and punctuation are observed to help the researcher pay attention to the details indicators that affect the interpretation. In the phonological level, the alliteration, consonance, assonance, and rhyme are analyzed. The use of metaphor, simile, imagery, and symbolism are observed on a lexical level. In the syntactic level, the tenses and word repetition are analyzed. Hence, according to Verdonk (2002, p.

58), the four language levels contribute to obtaining the language features in each poem.

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The second research problem's answer is based on the findings in the four language levels analysis (Verdonk, 2002). The four language features, namely phonological, syntactic, lexical, and graphological. Those language features are used to reveal the interpretation that is depicted in each poem. The readers could interpret the meaning of the poems by looking for language features. As mentioned above, that poem has unusual characteristics such as the word used with special meaning. Therefore, the concept of a poem is used to validate the analysis to complete the second problem formulation.

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CHAPTER III

METHODOLOGY

This chapter describes the object analyzed in this research and how the data analyzed. This chapter is divided into three parts. Those parts are the object of the study, approach of the study, and method of the study.

A. Object of the Study

As a famous poet, William Blake had written many poems. He divided his works into two poem collections, Song of Innocence and Song of Experience. The poems chosen to be analyzed in this research are two poems by William Blake entitled “The Little Boy Lost” and “The Little Boy Found”, which are taken from his first poem collection, Song of Innocence that was published in 1789. There were several revisions of his poem collections. In this research, the researcher used the revision from David V. Erdman that was published in 1988 in New York by Anchor

Books. “The Little Boy Lost” and “The Little Boy Found” share the same form.

Each of them has two stanzas, with four lines in each stanza. These poems are selected because they have the same number and stanza, and due to their short length. Moreover, these poems are the only one couple poems in Blake’s Song of

Innocence.

This study analyzed the poems mentioned above based on their language levels. In phonological level, the data covered the pattern of sounds; alliteration, consonance, assonance, and rhyme. In graphological level, the data were typographical features of the poems; capitalization and punctuation. In lexical level,

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the data covered the figures of speech in both poems: metaphor, simile, imagery, and symbolism. Lastly, in syntactic level, the data were the tenses used in those poems and word repetition existed in the poems.

B. Approach of the Study

Stylistics is the most appropriate study to analyze those poems. According to Nørgaard, Busse & Montoro, stylistics is the study of the ways in which meaning is created through language in literature (2010, p. 1). The meaning of those poems could be revealed by analyzing the language features. This research analyzed those poems based on Verdonk's (2002) four language levels. By analyzing the language levels, the interpretations in both poems are revealed. Therefore, stylistics is acceptable to be used as the study in analyzing the data.

C. Method of the Study

The method of the study is divided into two parts. The first part is data collection, which explains how the data obtained. The second part is data analysis, which explains how the data are analyzed.

1. Data Collection

This study conducted a data population. According to Best & Kahn (2014), data population methods are used in study when the data have one characteristic in common (p.11). Moreover, the researcher conducted a data population because all the details data in the poems are analyzed. In this research, the data are the language features in William Blake’s “The Little Boy Lost” and “The Little Boy Found”.

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Both poems share two common characteristics: the author and taken from the same poem collection. The population in this research was in the form of literary text, which were taken from the whole parts of the poems. Therefore, there are several steps done in this research in order to obtain the data.

First, the researcher decided to analyze a literary works which is poems due to their short length. Second, the researcher chose to analyze William Blake’s works. The reason was because most of his poems have simple structure, but implied profound meaning. Third, the researcher chose William Blake’s poem collection entitled Song of Innocence. There are 18 poems in the Song of Innocence.

Song of Innocence is chosen because it reflects worldliness, ignorance and purity

(Naeem, 2010). Fourth, the researcher focused on the thirteenth and fourteenth poem in Song of Innocence, entitled “The Little Boy Lost” and “The Little Boy

Found.”

2. Data Analysis

First, the researcher analyzed the language levels in Blake’s “The Little Boy

Lost” and “The Little Boy Found” to answer the first problem formulation. The researcher calculated the number of each phonological, graphological, syntactic, and lexical features are found. Moreover, the researcher interpreted each feature to identify the depicted meaning of the poem.

Second, the researcher categorized the features into four phonological features, namely alliteration, assonance, consonance, and rhyme. In analyzing those phonological features, the researcher used the English transcription from

Cambridge Online Dictionary based on its United Kingdom spelling. Third, the

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researcher classified the poems into three lexical features; figurative language, imagery, and symbolism. Fourth, the researcher identified punctuation and capitalization in graphology level. Fifth, the researcher analyzed the tenses and word repetition in the syntactic level. Sixth, the researcher figured out the interpretation of the poem. Here, the researcher elaborated and linked up all the findings of the language levels from the first problem. Then the researcher analyzed the purpose of the language levels used in the poems to get the interpretation of the poems to answer the second problem formulation. It could be seen from the role of certain elements of the hard data in each language level. Therefore, stylistics provides the hard data to support the analysis of literary work to be more valid with evidence, not just intuitions (Barry, 2002).

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C1HAPTER IV

ANALYSIS RESULTS AND DISCUSSION

This chapter provides the analysis and discussion to the problem formulation. The first section of analysis examines the language features that are observed from both William Blake’s poems. The researcher breaks down the language features that occur in both poems. The second part of this chapter covers the interpretations that are depicted in both poems.

A. Language Features in William Blake’s The Little Boy Lost and The Little

Boy Found

This part answers the language features existing in both poems of William

Blake became the data in this research. The language features are analyzed using

Verdonk theory about language levels that has been reviewed previously.

1. Language Features in “The Little Boy Lost” Poem

“The Little Boy Lost” is the first poem analyzed in this research. This poem is found in Song of Innocence’s poem collection and was first published in 1789.

This poem consists of two stanzas with four lines in each stanza. Each stanza is separated by a space before the next stanza. The language features found in the poem are analyzed based on its language levels proposed by Verdonk. Those levels are phonological, graphological, lexical, and syntactic levels. The analysis of the language features found in the poem are described below.

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a. Phonological Level

In this level, the researcher identifies the alliteration, consonance, assonance, and rhyme. Those features are analyzed as they are noticeable as sound features in the poem. The sound features in phonological level are divided into segmental and suprasegmental features. Segmental features include alliteration, assonance, and consonance, while rhyme is in suprasegmental feature. i. Segmental Sound Features

In the poem “The Little Boy Lost” by William Blake, the researcher finds alliteration, assonance, and consonance. Identifying those sound features help the researcher to find out the author’s purpose and the meaning of the poem. The analysis of those sound features would be presented in the following.

1) Alliteration

The first sound feature is alliteration. Wales says that alliteration is the repetition of the initial consonant sound (2011). There are eight alliterations found in the poem. Those alliterations lie on line 1 and 3 in stanza 1, and in line 1, 2, 3, and 4 in stanza 2. The consonants that undergo alliteration are /f/, /s/, /w/, /ð/, and

/d/. In stanza 1, there are two alliterations. The first repeated consonant is labiodental voiceless fricative /f/ as shown below.

Father, father, where are you going (line 1/stanza 1)

The second alliteration is alveolar voiceless fricative /s/. It could be seen below.

Speak father, speak to your little boy (line 3/stanza 1)

In stanza 2, there are four alliterations found. The two first alliterations lie in the first line. The first alliteration is bilabial voiced glide /w/, while the second

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alliteration is dental voiced fricative /ð/. It is shown below.

The night was dark no father was there (line 1/stanza 2)

The third repeated consonant is bilabial voiced glide /w/ in line 2. The rest alliterations are in line 3. The repeated consonant sound is dental voiced fricative

/ð/ and alveolar voiced stop /d/. It could be shown below.

The child was wet with dew (line 2/stanza 2) The mire was deep, & the child did weep (line 3/stanza 2)

2) Assonance

Assonance is the repetition of vowel sounds. A diphthong is included since it is a combined-vowel sound (Yule, 2006). The only one assonance diphthong found in the poem is /əʊ/. Moreover, there are seven repeated vowel sounds in this poem.

In stanza 1, there are four assonances found. The low back unrounded vowel

/ɑ/ and mid central reduced vowel /ə/ is repeated in the word “father” and “father” as shown below.

Father, father, where are you going (line 1/stanza 1)

The third is assonance of diphthong /əʊ/ in line 2. It could be seen below.

O do not walk so fast. (line 2/stanza 1)

The last assonance in stanza 1 lies in line 3. The high front unrounded vowel /i/ as shown below.

Speak father, speak to your little boy (line 3/stanza 1)

In stanza 2, there are four assonances occurring. The first assonance is low central unrounded vowel /ɒ/. It is shown below.

The night was dark no father was there (line 1/stanza 2)

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The next assonance is high front lax unrounded vowel /ɪ/ as shown below.

The child was wet with dew. (line 2/stanza 2) The mire was deep, & the child did weep (line 3/stanza 2)

The next assonance is the high front unrounded vowel /i/. It is shown below.

The mire was deep, & the child did weep (line 3/stanza 2)

The last assonance is low back unrounded vowel /ɑ/ in the words “and”, “away”, and “vapour” below.

And away the vapour flew. (line 4/stanza 2)

3) Consonance

Consonance is the repetition of consonant sound in any position (Nøgaard,

Busse & Montoro, 2010). There are seven consonances occurring in the poem.

Those consonances are /r/, /t/, /k/, /s/, and /p/.

In stanza 1, there are five repeated consonants. The first consonance is alveolar voiced liquid /r/ as shown below.

Father, father, where are you going (line 1/stanza 1)

The following consonance is alveolar voiceless stop /t/ in this line.

O do not walk so fast. (line 2/stanza 1)

Then, consonances in stanza 1 are velar voiceless stop /k/ and alveolar voiced liquid

/r/ as shown below.

Speak father, speak to your little boy (line 3/stanza 1)

The last consonance in stanza 1 is alveolar voiced liquid /l/ below.

Or else I shall be lost, (line 4/stanza 1)

There are two repeated consonants in stanza 2. Alveolar voiceless fricative

/s/ and bilabial voiceless stop /p/. It could be seen below.

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The night was dark no father was there (line 1/stanza 2) The mire was deep, & the child did weep (line 3/stanza 2)

ii. Suprasegmental Sound Feature

This part explains the suprasegmental feature in the poem which is rhyme.

There are three rhymes found: half rhyme, eye rhyme, and internal rhyme. The further discussion is below.

1) Half rhyme

The first rhyme is spotted in stanza 1, which is created by the word “fast” in line 2 and “lost” in line 4. It could be seen in the following tree diagrams that both words are similar in coda. “Fast” begins with a labiodental voiceless fricatives

/f/, while “lost” begins with alveolar voiced liquid /l/. The coda and onset in the word “fast” is separated by low back unrounded vowel /ɑ/, while the coda and onset in the word “lost” is separated by low back rounded vowel /ɒ/. The have the same coda, alveolar voiceless fricatives /s/ and alveolar voiceless stop /s/. Therefore, the types of rhyme of these words is half rhyme since they share the same consonant in the same position, coda (Ufot, 2013).

Syllable Syllable

On Rhyme On Rhyme

nu co nu co

/f ɑ s t/ /l ɒ s t/

2) Eye Rhyme

The second rhyme found is in stanza 2 in the word “dew” in line 2 and

“flew” in line 4. These words are monosyllabic, and similar in spelling. The

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difference is in the onset. “Dew” is introduced with an alveolar voiced stop /d/, while “flew” is introduced with labiodental voiceless fricatives /f/. They have similarities in the nucleus which is a high back rounded vowel /u/. The word “dew” and “flew” is considered as eye rhyme because they occur in words whose ending are spelt alike (Ufot, 2013).

Syllable Syllable

On Rhyme On Rhyme

Nu Nu

/dʒ u/ /f l u/

3) Internal Rhyme

The last rhyme is internal rhyme in line 3 stanza 2. The rhyme is created through the word “deep” and “weep.” Both of them are similar in nucleus and coda, but different in onset as shown in the tree diagram below.

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/d i p/ /w i p/

“Deep” begins with alveolar voiced stop /d/, while “weep” begins with /bilabial voiced glides /w/. They share the same high front unrounded vowel /i/, and bilabial voiceless stops /p/. Thus, this rhyme is considered an internal rhyme.

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b. Graphological Level

As stated before by Jimenez that graphological deviation may affect meaning and produce aesthetics effect (2015), therefore analysing punctuation and capitalization is needed since they are included in graphology. This part discusses punctuation in the poem: period, comma, and ampersand. i. Period

There are three periods occurring throughout the poem. The first period lies in stanza 1 line 2 as shown below.

O do not walk so fast. (line 2/stanza 1)

The other periods are found in stanza 2. It could be seen below.

The child was wet with dew. (line 2/stanza 2) And away the vapour flew. (line 4/stanza 2)

Periods are used here to identify that the sentence is already in complete thought then followed by another sentence with different thought. ii. Comma

There are four commas in stanza 1, the two commas in line 1, a comma in line 3, which lie in between words, and a comma in line 4 which is special because of its position as shown below.

Or else I shall be lost, (line 4/stanza 1)

The comma there occurs in the last sentence which makes it special. It is used to distinguish the speaker. “The Little Boy Lost” has two speakers, the first speaker is the child in stanza 1, and the second speaker is the narrator in stanza 2. Therefore, the comma in the last sentence is used to quote what the child said as in direct speech.

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iii. Ampersand

There is a unique and interesting character in line 3 stanza 2 called ampersand. Ampersand is a visual representation of the phrase “and, per se and” and also a graphic representation of the Latin word “et” which is translated into

“and” (Cousins, 2014). The ampersand in “The Little Boy Lost” could be seen below.

The mire was deep, & the child did weep (line 3/stanza 2) And away the vapour flew. (line 4/stanza 2)

The ampersand above is used to avoid repetition of the word “and” because there is also “and” in the following line and still in the same sentence.

c. Lexical Level

In this part, the researcher identifies the figures of speech that are found in

The Little Boy Lost. Those figures of speech are metaphor, symbolism, and imagery. i. Metaphor

A metaphor is a direct comparison between two different things. Gill (1995) adds that metaphor is valued for its power to make the readers see the things with the punch of actual sight. “The Little Boy Lost” only has a metaphor which is found in the last line of stanza 2 as shown below.

And away the vapour flew. (line 4/stanza 2)

According to Cambridge Online Dictionary, vapour means gas or extremely small drops of liquid that results from the heating of a liquid or solid. Vapour is the metaphor for the child that trapped in a tough situation and could not get out of that situation because covered by the vapour. The child hopes to find enlightenment to

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discharge from her/his painful situation as the vapour flew. Thus, metaphor is used to make the thought alive when two things are brought together (Gill, 1995). ii. Symbolism

Symbolism in poems is used to convey meaning or as the media to reflect the poet's state of mind, as mentioned by Cuddon (2013) that symbol stands for an animate or inanimate object which represents or stands for something else.

Throughout the poem, there are two symbols found as in the following line below.

Speak father, speak to your little boy (line 3/stanza 1) Or else I shall be lost, (line 4/stanza 1)

“Father” is used to symbolize the figure that the child is longing for to save his/her life. “Father” and that figure shared the same semantic property (+animate).

If it is connected to the following line, the child thinks that he/she will lose their way of life if he/she does not find its father figure. For the child, this “father” is the only one figure who will give her/him direction to find out their life again. Father here means God, who could give him/her guidance to go through a hard time of life.

Symbolism also found in stanza 2 as shown below. The night was dark no father was there (line 1/stanza 2)

The word “dark” means hopelessness of the child; the child feels so empty, dying, and alone. iii. Imagery

The last language feature in the lexical level is imagery. Imagery is a paint picture with words. Wolosky (2001) states that imagery is the firework of poetry, often thought of as poetry’s defining characteristic. The first imagery occurs in line

2 stanza 1 as shown below.

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O do not walk so fast. (line 2/stanza 1)

Blakes uses “walk so fast” as the imagery to give an image of the feeling left of the child. If the line is connected with the previous line, line 1, it clearly explains the child’s feeling. He feels that he is left behind by his father, and he does not know where his father goes. The next imagery could be found in line 1 stanza

2 as follows.

The night was dark no father was there (line 1/stanza 2)

The night is always dark, and in poem language, the word “dark” is related to something bad. Here, Blake uses dark and night as imagery to give a profound effect to the readers so that the readers could have the image of loneliness and depression of the child for being left and how scared the boy is. The last imagery lies in line 3 stanza 2 as shown below.

The mire was deep, & the child did weep (line 3/stanza 2)

In the line above, the narrator expresses that the child is trapped in a tough life by applying “mire” and “deep.” By applying “mire”, “deep”, and “weep” as imagery, the reader could have an idea on their mind of how the child cried in loneliness as well as hope to receive a hand to save him.

d. Syntactic Level

In this level, the researcher only focuses on word repetition and the tenses used in the poem.

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i. Present Progressive Tense

The first tense that appears in the poem is present progressive tense. It is used for an action that is in progress at the moment. A sentence is in present progressive because the verb is in present participle (Ving). Present progressive tense occurs only one time in the poem as shown below.

Father, father, where are you going (line 1/stanza 1)

The sentence above is a present progressive tense because marked by the use of the present participle verb “going”. The poet used present progressive tense here to show that the father went away slowly. In other words, the father is not directly lost from the boy’s sight, but it takes time to disappear. ii. Simple Present Tense

Simple present tense appears three times in stanza 1. Simple present tense in a sentence is marked by the use of a verb in its base or infinitive form. This tense is used to express feelings, opinions or relations (Eastwood, 1994). Below is the simple present tense in the poem.

O do not walk so fast. (line 2/stanza 1) Speak father, speak to your little boy (line 3/stanza 1) Or else I shall be lost, (line 4/stanza 1)

The lines above show the structure of simple present tense. This tense is used because it directly quotes what the boy feels or his conscience. iii. Simple Past Tense

A sentence is in simple past tense if it is used as a verb in the past form.

Simple past tense occurs four times in stanza 2, as shown below.

The night was dark no father was there (line 1/stanza 2) The child was wet with dew. (line 1/stanza 2)

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The mire was deep, & the child did weep (line 1/stanza 2) And away the vapour flew. (line 1/stanza 2)

Here, simple past tense is used because in stanza 2 the narrator retelling what happened to the boy.

2. Language Features in “The Little Boy Found” Poem

“The Little Boy Found” is the second poem analyzed in this research. This poem is found in Song of Innocence’s poem collection and was first published in

1789. This poem consists of two stanzas with four lines in each stanza. Each stanza is separated by a space before the next stanza.

The language features found in the poem are analyzed based on its language levels proposed by Verdonk. Those levels are phonological, graphological, lexical, and syntactic level. The analysis of the language features found in the poem are described below. a. Phonological Level

In this level, sound features are discussed. Phonological features existed in the poem are alliteration, assonance, consonance, and rhyme. Those features are divided into segmental and suprasegmental features. Segmental features cover alliteration, assonance, and consonance, while rhyme is in the suprasegmental feature. The spelling of the words is analyzed based on United Kingdom spelling in Cambridge Online Dictionary. i. Segmental Features

Consonance, assonance, and alliteration are the sound features found in the poem. Analyzing those sound features helps the researcher to draw the meaning of

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the poem. The analysis of the segmental sound features is presented in the following.

1) Alliteration

Alliteration is defined as consonant recurrences at the beginning of consecutive words (Kraxenberger & Menninghaus, 2016). There are four alliterations occurring in the whole poem. The first alliteration could be found in stanza 1 line 1 and line 2. The consonant alveolar voiced liquid sound /l/ is repeated in the word “little”, “lost”, and “lonely” in line 1, and the word “led” and “light” in line 2. Moreover, dental voiced fricative sound /ð/ is found in the word “the” and

“the” in line 1. There is also a repetition of bilabial voiced stop consonant /b/ in the word “began” and “but.”

The little boy lost in the lonely fen, (line 1/stanza 1) Led by the wand’ring light, (line 2/stanza 1) Began to cry, but God ever nigh, (line 3/stanza 1)

The following alliteration could be found in stanza 2 line 1. Glottal voiceless glide sound /h/ is repeated in the word “he” and “hand”. The repetition of dental voiced fricative sound /ð/ is found in the word “the” and “the” in the following line.

He kissed the child & by the hand led (line 1/stanza 2)

2) Consonance

Consonance is the repetition of consonant sounds elsewhere (Kao &

Jurafsky, 2012). Consonance only occurs ten times throughout the poem. The repetition of alveolar voiced nasal consonant sound /n/ in the word “in” and “fen.”

The alveolar voiced stop sound /d/ is repeated in the words “led” and “wand’ring”.

Then, in line 3, there is repetition of alveolar voiced nasal sound /n/ in the word

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“began” and “nigh.” The last consonance in stanza 1 is alveolar voiceless stop /t/ in the word “father” and “white.” The consonance in stanza 1 is shown below.

The little boy lost in the lonely fen, (line 1/stanza 1) Led by the wand’ring light, (line 2/stanza 1) Began to cry, but God ever nigh, (line 3/stanza 1) Appeard like his father in white. (line 4/stanza 1)

In stanza 2, alveolar voiced stop sound /d/ is repeated four times in the word

“kissed”, “child”, “hand”, and “led” in line 1. Then, the repetition of glottal voiceless glide sound /h/ in the word “his”, “mother”, and “brought” in line 2, and in the word “who” and “thro’” in line 3. In line 3 also found alveolar voiced liquid sound /l/ in the word “pale”, “lonely”, and “dale”. There are two repetitions in line

4. The first repetition is glottal voiceless glide sound /h/ in the word “her” and

“sought”. The second repetition is alveolar voiceless stop sound /t/ in the word

“little” and “sought”. The consonances in stanza 2 is shown below.

He kissed the child & by the hand led (line 1/stanza 2) And to his mother brought, (line 2/stanza 2) Who in sorrow pale, thro’ the lonely dale (line 3/stanza 2) Her little boy weeping sought. (line 4/stanza 2)

3) Assonance

Kao & Jurafsky (2012) mention that assonance is the repetition of vowel sound. Assonance could be found in stanza 1 line 1 and line 4. The high front lax unrounded vowel /ɪ/ is repeated in the word “little” and “in” in line 1 and “his” and

“in” in line 4 as shown in this following line.

The little boy lost in the lonely fen, (line 1/stanza 1) Appeared like his father in white. (line 4/stanza 1)

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ii. Suprasegmental Features

In this part, the researcher identifies the rhyme in the poem. There are three rhymes found in the poem, two masculine rhymes and an internal rhyme.

1) Masculine Rhyme

The first rhyme spotted in stanza 1 line 2 and 4, in the word “light” and

“white.”

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/l aɪ t/ /w aɪ t/

These words share the same nucleus and coda: the diphthong /aɪ/ as the nucleus and alveolar voiceless stop /t/ as the coda. Thus, it is considered as masculine rhyme since they share the same coda and nucleus (Ufot, 2013).

The second masculine rhyme is in stanza 2 line 2 and 4. The word “brought” and “sought” is a rhyme. “Brought” is introduced by bilabial voiced stop, while

“sought” begins with an alveolar voiceless fricative /s/. Those words are similar in nucleus and coda: mid back rounded vowel /ɔ/ as nucleus and alveolar voiceless stop /t/ as coda. Below is the tree diagram.

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/b r ɔ t/ /w ɔ t/

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2) Internal Rhyme

The last rhyme in this poem is internal rhyme. This internal rhyme is found in stanza 2 line 3 in the word “pale” and “dale.” This word is considered as internal rhyme because it shares the same nucleus and coda, but still in one line. “Pale” begins with a bilabial voiceless stop, while “dale” begins with an alveolar voiced stop /d/. The diphthong /eɪ/ as the nucleus and alveolar voiced liquid /l/ as the coda.

Syllable Syllable

On Rhyme On Rhyme

Nu Co Nu Co

/p eɪ l/ /d eɪ l/

b. Graphological Level

Leech & Short (2007) said that graphological variation is a relatively minor and superficial part of style and concerning spelling, capitalization, hyphenation, italicization, and paragraphing. Thus, analyzing capitalization and punctuation is needed. The first part discusses capitalization, while the second part discusses punctuation in the poem: period, comma, apostrophe, and ampersand. i. Capitalization

Every first letter in the poem is capitalized. It means that Blake follows the common rule of capitalization as mentioned by McCaskill (1998) that every first word in a line is capitalized. However, there is a word which is capitalized in the middle of the line. That word is “God” in line 3 stanza 1 as shown below.

Began to cry, but God ever nigh, (line 3/stanza 1)

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“God” here is a proper noun, therefore it must be capitalized because proper nouns should be written in capital letters (McCaskill, 1998). Moreover, it is capitalized because it refers to the one God in any monotheistic religion. Cline (2019) said that if we refer to the specific god-concept that a group worships, then it may be appropriate to use capitalization. ii. Punctuation

McCaskill (1998) mentions that punctuation is placed to make meaning clear and to make reading easier. The punctuations found throughout the poem are period, ampersand, comma, and ampersand. The following discussion of punctuation is broken down below.

1) Comma

There are three commas in stanza 1 which lie at the end of the line, and a comma in the middle of the line as shown below.

The little boy lost in the lonely fen, (line 1/stanza 1) Led by the wand’ring light, (line 2/stanza 1) Began to cry, but God ever nigh, (line 3/stanza 1)

The three commas in the end of the line are used to chop off the sentence.

According to Kaplan (2020) comma is used after a dependent clause that starts a sentence. Line 1 is an independent clause, and the rest line is the dependent clause.

Moreover, a comma is also used before any coordinating conjunction (and, but, nor, and so on) that link two independent clauses (Kaplan, 2020) as occur in line 3 below.

Began to cry, but God ever nigh, (line 3/stanza 1)

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In stanza 2, there are two commas. One comma occurs in the last line and a comma lies in the middle of the line as shown below. The function of the commas here is similar to the other commas in stanza 1. It is used to cut off the sentence.

And to his mother brought, (line 2/stanza 2) Who in sorrow pale, thro’ the lonely dale (line 3/stanza 2)

2) Period

There are only two periods throughout the poem. Both of them could be found in the last line of each stanza as shown below.

Appeared like his father in white. (line 4/stanza 1) Her little boy weeping sought. (line 4/stanza 2)

This period is used to indicate that the sentence is in complete thought.

3) Ampersand

The one and only ampersand could be found in the first line of stanza 2 below.

He kissed the child & by the hand led (line 1/stanza 2)

This ampersand is used by the poet to avoid repetition of the word “and”. In the following line, line 2, there is an “and”, therefore the ampersand is used.

4) Apostrophe

Apostrophe occurs two times in the poem. The first apostrophe is in line 2 stanza 1. The second apostrophe is in line 3 stanza 2. Those apostrophes could be seen below.

Led by the wand’ring light, (line 2/stanza 1) Who in sorrow pale, thro’ the lonely dale (line 3/stanza 2)

The phonetic transcription of wand’ring is /ˈwɒnd’rɪŋ/, while the phonetic transcription of thro is / θruː/

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c. Lexical Level

At this level, the researcher analyzed figures of speech found in the poem.

Those figures of speech are simile, symbolism, and imagery. i. Simile

A simile is different from metaphor. It contains words such as like or as to make comparison explicit (Griffiths, 2006). Simile in this poem could be found in the following line.

Began to cry, but God ever nigh, (line 3/stanza 1) Appeard like his father in white. (line 4/stanza 1)

Blakes compares God with the child’s father. By using this simile, Blake is saying that God, is a comforting father-like figure. With this simile, Blake is pointing out that God is there to help when human aid is not possible. ii. Imagery

There are seven imageries found in the poem. The two imagery are found in line 2 and 3 stanza 1 as follows.

Led by the wand’ring light, (line 2/stanza 1) Began to cry, but God ever nigh, (line 3/stanza 1)

This light shows the way out for the child. It becomes the guide for the child to get out of his tough life. In other words, this light leads the child to find out the figure that he is looking for. Blake uses cry as imagery to give the image of the mixed- feeling of the child to the reader. The boy shocks and delights at the same time because what he looked for is finally in front of him. Thus, he expressed his feeling by crying. The next imagery is shown in the following line.

Appeard like his father in white. (line 4/stanza 1)

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By applying white as imagery, Blakes has intentions to tell the reader that the father figure the boy looked for is found in God. When the boy is his loneliness and his life falls apart, he encounters God privately. Thus, he realizes that he is not left and alone because the truth is God is always beside him no matter how messed up he is. The fourth imagery is found in line 1 stanza 2 below.

He kissed the child & by the hand led (line 1/stanza 2)

There are two imageries in one line, “kissed” and “by the hand.” Blake used those as imagery to explain how good God is. God gives the child forgiveness, mercy, and acceptance. If this line is connected to the following line, line 2, God leads the boy back to his mother. Mother is the figure who always accepts and forgives her child no matter what. Moreover, there are two imageries in the following line below.

Who in sorrow pale, thro’ the lonely dale (line 3/stanza 2) Her little boy weeping sought. (line 4/stanza 2)

Blake uses “sorrow pale” as imagery so that the readers have the image of how grief the mother is. Mother is searching for her boy and hopes she will find him and take him back home. Thus, she looks for her child alone everywhere, even in the valley. It also shows us how great a mother's love for the child is. Then, by applying “weeping sought” as imagery, Blake wants to describe the situation of a mother and her child meeting. After the boy meets his mother, he is beyond happy and expresses his happiness by crying because no word could explain his feelings. iii. Symbolism

There is only one symbolism in the poem. The symbolism lies in stanza 2 line 2 as shown below.

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And to his mother brought, (line 2/stanza 2)

Mother is this poem that represents the goddess. According to Cambridge

Online Dictionary, mother means female parents, while goddess means female god.

Thus, mother and goddess share the same semantic property (+female). The mother appears as a divine being. Now, the child is fulfilled and has already discovered the two halves of the godhead: the divine masculine, father, and the divine feminine, mother.

d. Syntactic Level

In this level, the researcher only focuses on the tense used in the poem.

Throughout the poem, there is only a tense found, which is simple past tense. Below are the examples of simple past tense in the poem.

The little boy lost in the lonely fen, (line 1/stanza 1) Began to cry, but God ever nigh, (line 3/stanza 1) He kissed the child & by the hand led (line 1/stanza 2) And to his mother brought, (line 2/stanza 2)

All the verbs used above are in past simple form. The simple past tense is used in this poem because this poem retells what happened to the child. In other words, the speaker in this poem is the narrator, whose all-knowing, then he/she only narrates the child situation.

B. The Depicted Interpretations in “The Little Boy Lost” and “The Little

Boy Found”

In writing his poem, William Blake applied language features from lexical, phonological, syntactic, and graphology level for some purposes. He wanted to

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deliver his messages properly. These messages are depicted from analysing the language features that have been done in the previous subchapter. The researcher links up the finding in language features to figure out the meanings of the poem in the following part.

1. Loneliness in “The Little Boy Lost”

This poem tells us about the relationship between parents and child. The little boy is left by his father in an unknown place, then the little boy stays in loneliness. The language features used in the poem shows how solitude the little boy was. The first language level that shows his loneliness is lexical level. In the last line of stanza 2 there is a metaphor as shown below.

And away the vapour flew. (line 4/stanza 2)

Vapour is a metaphor of the little boy’s tough and lonely life. Vapour refers to will- o’-the-wisp. According to Merriam Webster Dictionary, will-o’-the-wisp is a flame-like phosphorescence caused by gases from decaying plants in marshy areas.

This dim light prevents the little boy from seeing and being seen. Thus, now the little boy is totally lost in loneliness there.

Blake also explains the child loneliness through the use of imagery. It could be seen in stanza 1 below.

O do not walk so fast. (line 2/stanza 1) Speak father, speak to your little boy (line 3/stanza 1)

Father in this poem walks quickly without noticing the little boy behind him. The little boy could not follow his father, so he asked his father to walk slowly.

Nevertheless, the father ignores the little boy’s demand and keeps walking faster, leaving the little boy. In line 3 above, it is described that the little boy is seeking

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help from his father. Since the father disappears from the boy’s sight, the only one way to help him is by his voice.

Imagery in stanza 2 also gives the image of loneliness of the little boy.

Below is the imagery.

The night was dark no father was there (line 1/stanza 2)

“Night” and “dark” could be defined as the situation of the little boy at this time as it has a non-literal meaning. Baigy & Zarrinjooee (2014) mention that night shows the little boy’s fear of losing his father in the world of darkness due to his painful experience. By using this imagery, Blake wants to give an illustration of how solitude and scary the little boy is. It is supported by the following phrase that the father is not there with him. Thus, he is totally alone.

As mentioned previously, that “father” in this poem might confuse the reader, which father is longed for by the little boy, either earthly father or heavenly father. It could be concluded that the “father” figure in this poem refers to the heavenly father, God, since all of his work is influenced by his vision when he was a child. When Blake was four years old, he saw God’s head appear in the window and he also saw Prophet Ezekiel under the tree in the fields (Bentley, 2020).

Therefore, all of his work refers to the heavenly Father, God. Moreover, Blake suggests that the earthly father could not lead the little boy to absolute peace and truth. In other words, the earthly father could not help the little boy to figure out what he is looking for. Thus, the only one figure who could lead the little boy back is his heavenly father, God.

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Loneliness that is experienced by the little boy also could be seen in the use of tense which is found in syntactic level. Present progressive tense in line 1 stanza

1 below highlights the little boy felt.

Father, father, where are you going (line 1/stanza 1)

As stated by Azar (1999) that present progressive tense expresses an activity that is in progress at the moment of speaking (p. 13). Present progressive tense here is used to explain that the father does not directly disappear from the little boy sight, but he leaves the little boy slowly. By the time it goes by, the father fully fades away, and the little boy is left behind alone.

There is an essential comma in this poem. The comma in the last line of stanza 1 below to make the reader easier distinguish the speaker.

Or else I shall be lost, (line 4/stanza 1)

There are two speakers in the poem, the little boy and the narrator. Speaker in stanza

1 is the little boy, who is making fervent wishes to his father, and narrator in stanza

2, who is describing the situation and condition of the little boy. Thus, the comma in the last line is used, like in direct speech. It is also supported by the use of tenses.

In stanza 1, all lines are written in present tense, while in stanza 2 is in past tense.

Phonological features are used to beautify the poem and to attract the readers. Phonological features beautify the poem because it creates similar sound and rhyme. The word “fast” and “lost” which create pararhymes in stanza 1 also show the little boy loneliness. Lost describes the little boy's condition, that he should look for his father again by himself, even though he does not know how to find his father again. Fast describes how the father left this little boy.

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Moreover, Blake placed this poem in his Song of Innocence for a reason. As mentioned above that the little boy needs his father's hand to comfort him, he could not find the way to save his life by himself. Thus, it could be said that he is too innocent to understand what is going on in his life.

2. Redemption in “The Little Boy Found”

Since this poem is the sequel for The Little Boy Lost, this poem still tells about the relationship between parent and child. If in The Little Boy Lost the little boy is lost somewhere alone on his way to looking for his father, in The Little Boy

Found, finally the little boy finds his way. After the little boy suffers alone in seeking his father, he is rescued by his divine father.

The language features used in the poem describe how the little boy is redeemed by God. In lexical level, by the use of simile below, Blake wants to expound to the readers that God is always beside us to guide and protect us, even when we feel we are far away from him. The figure of God could be found in everyone around us.

Began to cry, but God every nigh, (line 3/stanza 1) Appeard like his father in white. (line 4/stanza 1)

“White” in line 4 above is an imagery that represents the divine father, God, who comes to secure the little boy from his long suffering. The little boy has encountered God during his painful life. Those experiences lead the little boy to the understanding of life that God is within him. Baigy & Zarrinjooee (2014) mentioned that Blake does not only portrays the strong union affection that exist

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between God and the little boy, but also, he shows the only true salvation for humanity. The poem shows that the little boy found affection people around him.

The following imagery below also shows the redemption of God that was received by the little boy.

He kissed the child & by the hand led (line 1/stanza 2)

“by the hand led” could be defined as guidance as it has non-literal meaning. When the world only offers the little boy hopelessness and loneliness, God, the father that the little boy yearned for, always offers peacefulness and redemption of life. As the divine father, He will always give way of life for his child, even though we try to shun from Him. He showers us with his infinite mercy, forgiveness, and love. As mentioned by Baigy & Zarrinjooe (2014) that God is an allegory to show His love and care for human beings. Thus, he guides the little boy to get his pleasant peace, his mother as mentioned in the following line below.

And to his mother brought, (line 2/ stanza 2)

After his long journey in seeking the presence of God, finally, the little boy got God’s guidance and he met with his mother. Mother in this poem symbolizes a comfortable, love, sincerity, and pleasant place. Subsequently, the little boy absolutely achieved two dimidiates of the godhead: the divine masculine, father, and the divine feminine, mother.

In the syntactic level, simple past tense is found throughout the poem. Past tense expresses an event that already ends. Moreover, in this poem, the simple past tense explains that the little boy is no longer in pain and suffering again because he

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has already been redeemed by God. He is in a peaceful life and has encountered

God now.

The word “God” in line 3 stanza 1 is capitalized. As mentioned above, that

God in this poem refers to the one God in monotheist religion, therefore it must be capitalized. Moreover, the comma in every last line helps the reader to easily understand the intended meaning of the poem.

Phonological features in this poem create aesthetic sound effects to the reader. Moreover, alliteration in line 1 stanza 1 also explains how innocent the little boy is, because he is immature. Furthermore, the rhyme scheme in both stanzas is easily identified making it more organized and the reader gets into the sense of the poem easily. This easy rhyme scheme describes the tone that little boy is living in comfort life.

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CHAPTER V

CONCLUSION

In this chapter, the results of the analysis that have been done in the previous chapters are presented. The researcher has done in analyzing the language features that are used in William Blake’s “The Little Boy Lost” and “The Little Boy Found” and the interpretation depicted in each poem. In this research, the meaning that the poet wants to convey in his poems are obtained by breaking down the language features and identifying the meanings those features reveal.

“The Little Boy Lost” represents the loneliness of human beings, while “The

Little Boy Found” represents the redemption that the human being received. The first problem formulation is answered by applying four language levels: phonological, graphological, lexical, and syntactic levels. In phonological level, both poems have segmental and suprasegmental sound features. Alliteration, assonance, and consonance are in segmental features, while rhyme is in suprasegmental features. There are four types of rhyme found: internal, masculine, eye, and half-rhyme. These sound features are used for some purposes. Those purposes are to beautify the poem, and to create a sense of innocence. In the graphological level, capitalization and punctuation are found in both poems to make the readers easier understand the poem. Tenses and word repetition are found in the syntactic level. Present progressive tense in “The Little Boy Lost” shows the process of the father’s disappearance, while simple past tense in “The Little Boy

Found” explains that the little boy is redeemed now. In the lexical level, figurative

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language, imagery, and symbolism are analyzed. These lexical features carry the biggest impact in drawing the interpretation of the poems.

Those language features found leads to the meaning of the poems. Language features in “The Little Boy Lost” poem depict the loneliness that the little boy goes through, while language features in “The Little Boy Found” portray the redemption that the little boy received from God after his long and painful life journey. The titles of the poems show the contrary on the surface, yet both poems stand for each other. In other words, these poems are a couple poems.

The result of this study supports the previous study that has done by Baigy

& Zarrinjooee (2014). In the previous study, the researchers concluded that those poems are written as the way for William Blake in protesting capitalism in England, especially for children labour. The present study concluded that those poems are made to all human beings. The messages of the poems are realateable nowadays.

By reading the poems, the readers realize that they could find affection from people around them. Therefore, the finding in the present enriches the finding from the previous study. The previous study analyzed those poems from literature point of view, however, the present study analyzed the poems from linguistic point of view.

From the findings, the researcher concludes that William Blake as a poet of these two poems applies the language features in order to deliver his message. The result of this research shows that stylistic analysis is acceptable in drawing the meaning of literary works. Through stylistic analysis, the meaning of those poems could be obtained effectively.

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The researcher suggests to the future researcher to conduct another literary research using stylistic analysis. Furthermore, the future researcher could use another poem from another poet to be analyzed. In addition, the researcher also recommends the future researcher to widen the analysis by applying more than four language levels. Thus, the meaning of the poem could be achieved profoundly.

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REFERENCES

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APPENDICES

Appendix 1: The Little Boy Lost Erdman, David. V. (Ed). (1988). The Complete Poetry and Prose of William Blake. New York: Anchor Books.

The Little Boy Lost

Father, father, where are you going

O do not walk so fast.

Speak father, speak to your little boy

Or else I shall be lost,

The night was dark no father was there

The child was wet with dew.

The mire was deep, & the child did weep

And away the vapour flew.

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Appendix 2: The Little Boy Found Erdman, David. V. (Ed). (1988). The Complete Poetry and Prose of William Blake. New York: Anchor Books.

The Little Boy Found

The little boy lost in lonely fen,

Led by the wand’ring light,

Began to cry, but God ever nigh,

Appeard like his father in white.

He kissed the child & by the hand led

And to his mother brought,

Who in sorrow pale, thro’ the lonely dale

Her little boy weeping sought.