Phonological Features in Robert Frost's “Fire and Ice” and “Nothing Gold Can Stay” Poems

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PHONOLOGICAL FEATURES IN ROBERT FROST’S “FIRE AND ICE” AND “NOTHING GOLD CAN STAY” POEMS

AN UNDERGRADUATE THESIS

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

By HADRIAN KUSUMA ASMARA Student Number: 144214071

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2018

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PHONOLOGICAL FEATURES IN ROBERT FROST’S “FIRE AND ICE” AND “NOTHING GOLD CAN STAY” POEMS

AN UNDERGRADUATE THESIS

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

By HADRIAN KUSUMA ASMARA Student Number: 144214071

DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2018

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Time is never Waiting For us To Do Something

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This Page is dedicated for

CHRISTIAN KUSUMA ASMARA

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ACKNOWLEDGEMENTS

First of all, I would like to send my deepest gratefulness to Jesus Christ for all blessing during and after the process of writing this thesis. I thank Him because He has accompanied me through my family and my friends who always support me in every situation I have.

Secondly, I would like to extend my gratitude to my thesis advisor, Arina

Isti’anah, S.Pd., M.Hum., for understanding my diffculties, guiding me patiently, and supporting me in finishing my thesis. She patiently read my writing and gave me suggestions that made this writing a success. Thridly, I also would like to thank my co-advisor, Dr. Bernadine Ria Lestari, M.Sc. who gives me lots of advices and suggestions that make my thesis better.

Fourthly, I would thank my parents, my brothers, my girlfriend, Irene

Putri, for all of their support so I can finish my thesis. Next, I would also thank all my lovely best firends Alex, Ega, Adong, Sharon, Siska, Bella, and Nadia, who always support me to do my thesis, all my Kopma friends, Inno, Wisnu, Satya,

Niko, Malolo, Garda, and Magot, who always accompanies me in playing

Vainglory when I am down.

Finally, I would like thank all of my friends in English Letters of 2014 for the encouragement so that I manage to finish this thesis.

Hadrian Kusuma Asmara

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TABLE OF CONTENTS

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

CHAPTER I: INTRODUCTION ...... 1 A. Background of the Study ...... 1 B. Problem Formulation ...... 5 C. Objectives of the Study ...... 5 D. Definition of Terms ...... 6

CHAPTER II: REVIEW OF LITERATURE ...... 8 A. Review of Related Studies ...... 8 B. Review of Related Theories ...... 12 1. Stylistics ...... 12 2. Phonology ...... 14 3. Poem ...... 22 C. Theoretical Framework ...... 23

CHAPTER III: METHODOLOGY ...... 25 A. Object of the Study ...... 25 B. Approach of the Study ...... 26 C. Method of the Study ...... 26 1. Data Collection ...... 26 2. Data Analysis ...... 27

CHAPTER IV: ANALYSIS RESULTS AND DISCUSSIONS ...... 29 A. Phonological Features in Robert Frost’s “Fire and Ice” and “Nothing Gold Can Stay” ...... 29

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1. “Fire and Ice” Poem ...... 29 2. “Nothing Gold Can Stay” Poem ...... 40 B. Phonological Feature’s contribution to Robert Frost’s style ...... 50

CHAPTER V: CONCLUSION ...... 58

REFERENCES ...... 62

APPENDICES ...... 65 A. Appendix 1: “Fire and Ice” Poem ...... 65 B. Appendix 2: “Nothing Gold Can Stay” Poem ...... 66

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LIST OF TABLES

Table 1. Assonance Found in “Fire ad Ice”...... 30 Table 2. Alliteration Found in “Fire and Ice”...... 31 Table 3. Consonance Found in “Fire and Ice”...... 33 Table 4. Rhyme Found in “Fire and Ice”...... 35 Table 5. Metrical Pattern Found in “Fire and Ice”...... 37 Table 6. Assonance Found in “Nothing Gold Can Stay”...... 40 Table 7. Alliteration Found in “Nothing Gold Can Stay”...... 42 Table 8. Consonance Found in “Nothing Gold Can Stay”...... 43 Table 9. Rhyme Found in “Nothing Gold Can Stay”...... 45 Table 10. Metrical Pattern Found in “Nothing Gold Can Stay”...... 47

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ABSTRACT ASMARA, HADRIAN KUSUMA. (2018). Phonological Features in Robert Frost’s “Fire and Ice” and “Nothing Gold Can Stay” Poems. Yogyakarta: Department of English Letters, Faculty of Letters, Universitas Sanata Dharma. Style is a primary aspect of any literary piece of writing. One example of literary works is poem. In stylistics, the style of a poem can be analyzed through several aspects, one of which is through its sounds. Subsequently, the use of sound in a poem can be used to see the style of the author. In the case of sound, there is an overview of the sound system in the language by means of phonology. Phonological rules can show the analysis of sound production changes. Phonology has some interesting type of data to analyze. One of which is literary works, especially poetry. This study has two objectives to discuss. First, the writer presents phonological features found in Robert Frost’s “Fire and Ice” and “Nothing Gold Can Stay”. Second, the writer finds Robert Frost style in making the poems through the phonological features that are found. This research employed a stylistic approach to analyze the phonological features found in the poems and find Frost’s style in making his poems. The population study was employed to take the data. From the discussion, the writer found out that “Fire and Ice” had ABAABCBCB end rhyme pattern, which included /aɪə/,/aɪs/, and /eɪt/ rhyme sounds, and it used masculine rhyme. It was written in iambic tetrameter and iambic dimeter. The front high lax vowel /ɪ/ and the diphthong /aɪ/ dominate the repetition of vowel sound. The alveolar voiceless consonant /s/ is mostly repeated in the beginning of the words, while the alveolar voiceless consonant /t/ is the only sound repeated in the end of the words. Meanwhile, “Nothing Gold Can Stay” had AABBCCDD end rhyme pattern, which included /əʊld/,/aʊə/,/i:f/, and /eɪ/ rhyme sound, and it also used masculine rhyme. It had couplet verse. It was written in iambic trimester and unmetrical pattern. The repetition of vowel sound is dominated by the diphthong /əʊ/ and the front high tense /i:/. This poem has five repetitions of initial consonant sound and each repetition has a different consonant. On the other hand, there are three repetitions of final consonant sound in this poem and each repetition also has a different consonant. The writer also found the style of Robert Frost in making his poems. The writer found that Robert Frost has a rhythmical style in making his poems. As the final point, there are three points that can be concluded. First, this research showed that linguistic analysis could be used to analyze literary text. Second, this research also found that Robert Frost used phonological features in making his poems. Last, this research also found Robert Frost style in making his poems. Frost has a rhytmical style in making his poems.

Keywords: stylistics, phonology, poem, phonological features

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ABSTRACT ASMARA, HADRIAN KUSUMA. (2018). Phonological Features in Robert Frost’s “Fire and Ice” and “Nothing Gold Can Stay” Poems. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma. Style adalah aspek utama dari setiap tulisan sastra. Salah satu contoh karya sastra adalah puisi. Dalam Ilmu Stilistika, gaya sebuah puisi dapat dianalisis melalui beberapa aspek, salah satunya melalui bunyinya. Selanjutnya, penggunaan bunyi dalam sebuah puisi dapat digunakan untuk melihat gaya dari pengarangnya. Dalam hal bunyi, terdapat gambaran umum tentang sistem suara dalam bahasa yaitu fonologi. Aturan fonologis dapat menunjukkan analisis perubahan bunyi yang diciptakan. Fonologi memiliki beberapa tipe data yang menarik untuk dianalisis. Salah satunya adalah karya sastra, khususnya puisi. Penelitian ini memiliki dua tujuan untuk dibahas. Pertama, penulis mencoba menyajikan fitur fonologis yang ditemukan di "Fire and Ice" dan "Nothing Gold Can Stay" karya Robert Frost. Kedua, penulis mencoba menemukan gaya dari Robert Frost dalam membuat puisi melalui fitur fonologis yang ditemukan. Penelitian ini menggunakan pendekatan ilmu stilistika untuk menganalisis fitur fonologis yang ditemukan di dalam data puisi dan untuk mengetahui gaya dari Frost dalam menulis puisinya. Dari hasil pembahasan tersebut, penulis menemukan bahwa puisi “Fire and Ice” memiliki pola sajak yang berakhiran ABAABCBCB, yaitu bunyi sajak /aɪə/,/aɪs/, dan /eɪt/, dan puisi ini menggunakan sajak maskulin. Puisi ini ditulis dalam iambic tetrameter dan iambic pentameter. Vokal front high lax /ɪ/ dan diphthong /aɪ/ paling banyak muncul di pengulangan bunyi vokal. Konsonan alveolar voiceless /s/ paling banyak muncul di awal kata, sedangkan konsonan /t/ merupakan satu-satunya konsonan yang diulang di akhir kata. Sementara itu, puisi “Nothing Gold Can Stay” memiliki pola sajak yang berakhiran AABBCCDD, yaitu /əʊld/,/aʊə/,/i:f/, and /eɪ/, puisi ini juga menggunakan sajak maskulin. Puisi ini memiliki bait couplet. Puisi ini ditulis dalam iambic trimeter dan meter yang tidak berpola. Pengulangan bunyi vokal didominasi oleh diphthong /əʊ/ dan vokal front high tense /i:/. Puisi ini memiliki lima pengulangan bunyi konsonan awal dan tiap pengulangan memiliki konsonan yang berbeda. Terdapat juga tiga pengulangan bunyi konsonan di akhir kata dalam puisi ini dan tiap pengulangan juga memiliki konsonan yang berbeda. Penulis juga menemukan gaya dari Robert Frost dalam membuat puisinya. Penulis menemukan bahwa Robert Frost memiliki gaya yang berirama di dalam membuat puisinya. Pada akhirnya, ada tiga poin yang dapat disimpulkan. Pertama, penelitian ini menunjukkan bahwa analisis linguistik dapat digunakan untuk menganalisis teks sastra. Kedua, penelitian ini juga menemukan bahwa Robert Frost menggunakan fitur fonologis dalam membuat puisinya. Terakhir, penelitian ini juga menemukan gaya Robert Frost dalam membuat puisinya. Frost mempunyai gaya yang berirama di dalam membuat puisinya.

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CHAPTER I

INTRODUCTION

A. Background of the Study

Language is an essential thing for human life. It is a primary medium for people to communicate their feelings or ideas and to interact to each other. It initiates people to deliver and understand messages. As the time elapses, language has developed. Language becomes important for human beings. Jakobson (1960) states that there are six basic functions of language,

they are referential (oriented toward the context), emotive (oriented toward the addresser), phatic (serves to establish mutual agreement on the code), conative (oriented toward the addressee), metalingual (to establish mutual agreement on the code), and poetic (puts ‘the focus on the message’)(p.365).

It can be concluded that language is useful for human beings. Human needs language to communicate with each other. The six function of language stated by Jakobson shows that language has its function to help people deliver or receive messages. One of them is poetic function which puts the focus on the message and this function usually used in a poem.

Human being’s life and language are interrelated. Language makes humans different from other creatures in this world. Language is used through written and spoken ways. In written language, it can be represented into non- literary and literary works. Non-literary works, such as news article, magazine, and textbooks, are often discovered in daily life. Literary works, such as short

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stories, prose, plays, novels, and poetry which can be found and appreciated in daily life.

Human life’s representation is believed to be described in literary works.

Some of literary works are created as a reflection of what happens in the society.

One of the example is “Caged Birds” poem by Maya Angelou. In this poem

Angelou describes about Afro American life’s that does not have freedom to perform and give their mind. The life of birds which are caged is the picture of their life. The poem depicts about racism and inequality that Afro American people experienced. Literary works also reflect the writer’s personal life experience. For example, Billy Collins’ poems, entitled “The Best Cigarette”, tells about his personal experience in several occasions with action of smoking.

Literary studies discuss literary works through various literary criticisms.

The result of literary work uses many distinctive approaches, which can expose some different meanings and interpretations in observing the same literary work as its data. Meanwhile, Simpson states that “literature offers the chance to explore language that is out of the ordinary, language which is often the preeminent embodiment of the creative spirit” (2004, p.98). According to Simpson’s statement, it can be said that literature through literary texts has many sources to be analyzed in language study because it provides unusual language. Therefore, in language studies, literary work can be analyzed through its lexical, grammar, phonological, and graphological which are included in stylistics. Wales states that besides to describe the language features of texts, stylistics also give the readers

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an idea about the interpretation of texts, or link literary effects to linguistics causes in which they are relevant (1991).

Style is a primary aspect of any literary piece of writing. Leech and Short

(2007) state that “the word ‘style’ has a fairly uncontroversial meaning: it refers to the way in which language is used in a given context, by a given person, for a given purpose, and so on” (p.9). The general meaning of style is the ‘manner or mode’ but the literary meaning of style refers to how a writer’s thoughts take the shape of words. The style of literary work is discussed by using stylistics as the approach.

Stylistics is a branch of linguistics which deals with different styles of texts. Verdonk (2002) states that the description of language’s intention and effect are also the concern of stylistics, except the expression in language. It is reinforced by Al Shawa (2015) who states that stylistics is a study that looks at the text in detail and analyzes the significant language forms for interpretation. It means that stylistics concerns on the study and the interpretation of text from a linguistic perspective. Some different language devices, that are graphological, phonological, lexical, and grammatical, are projected to be observed in stylistics.

In this research, the writer applies the phonological level of analysis which covers meter, rhyme, assonance, consonance, and alliteration. To be specific, this research aims to analyze the phonological level of poems. The poems observed in this study were written by Robert Frost entitled “Fire and Ice” and “Nothing Gold

Can Stay”.

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Robert Frost, an American poet, was born in San Francisco, California in

1874. He moved to New England when he was child after his father’s death. After that because of the difficulties of financial, he moved to England (The United

Kingdom) in the age of 38. In 1924, he received his first Pulitzer Prize for his book of poems: “New Hampshire”. “Fire and Ice” and “Nothing Gold Can Stay” are two of the poems included in “New Hampshire” part (Robert Frost, 2016).

“Fire and Ice” was written in 1920, meanwhile “Nothing Gold Can Stay” was written in 1923. “Fire and Ice” talks about the fate of the world, Fire is to symbolize the desire and Ice is to symbolize the hate (Robert Frost: Poems

Summary and Analysis of “Fire and Ice”, para.1). The next one is “Nothing Gold

Can Stay” which tells about the leaves that start to show in the season of spring are perceived as gold, but soon turn to familiar green and before too long they're fading as victims time (Spacey, 2017, para.3).

There are two reasons that make the writer pay considerable attention to the poems and interest to make it the object of the study. The first writer’s reason in writing this research is because the writer aims to use language study in analyzing literary work, which is different from most researchers who usually use literary criticism in analyzing literary work.

His adherence to meter, line length, and rhyme scheme is the second reason why the writer chooses Robert Frost. Robert Frost holds a unique and almost isolated position in American letters. He never completely abandoned conventional metrical form for free verse, as so many of his contemporaries were doing. He is special. His adherence to meter, line length, and rhyme scheme was

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not an arbitrary choice. He believed that the poem’s particular mood dictated or determined the poet’s and the first commitment to make a poem are about meter and length of line (Robert Frost, 2017, para.3). The writer aims to observe the style of Robert Frost in making poems. The writer chooses “Fire and Ice” and

“Nothing Gold Can Stay”, which both are in the same part of the book entitled

New Hampshire which made him receive his first Pulitzer Prize.

Therefore, this research employs a specific study as the principal of theoretical grounds. The approach used in this research is stylistics. Stylistics in this research will give a profound understanding towards the phonological level in

“Fire and Ice” and “Nothing Gold Can Stay” poems. The research overwhelms rhymes, meters, alliterations, assonances, and consonances which are found in the poems.

B. Problem Formulation

There are two problems that will be discussed in the study. The problems are presented as the following:

1. What phonological features are used in Robert Frost’s “Fire and Ice” and

“Nothing Gold Can Stay” poems?

2. How do those features constitute the style of Robert Frost?

C. Objectives of the Study

There are two objectives that will be analyzed in this research. The first goal is to find out profoundly the phonological features that are used in Robert

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Frost’s “Fire and Ice” and “Nothing Gold Can Stay” poems. There are some phonological features that are found in these poems that are the rhyme, the meter, the consonances, the assonances, and the alliterations. The research aims to see the phonological features that are found in each poem. The second goal is to find out the style of Robert Frost. The research aims to observe Robert Frost’s style in making poems through the phonological features that are used in his “Fire and

Ice” and “Nothing Gold Can Stay”.

D. Definition of Terms

This part will clarify the definition of certain terms that are used in the research. The terms overwhelm style, phonological feature, and poems. The first terminology is style. Style influences the characteristics given to stylistics as one of several linguistic disciplines. It describes the way of person’s speaking and writing. Style has an uncontroversial meaning, according to Leech and Short, “it refers to the way in which language is used in a given context for a given purpose and by a given person” (2007, p.9). Style is also a description of an aspect of language that deals with choices of diction, phrases, sentences, and linguistic materials. The different of choices will produce different style and different effect.

The second terminology is phonological features. According to Crystal

(2008), phonology is a branch of linguistics which studies the sound systems of language (p.365). It means that phonology contains a study of language to determine its distinctive sounds, its sound structure, and pronunciation. In linguistics, feature is a term used to refer to any typical or noticeable property of

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spoken or written language (Crystal, 2008, p.186). It means that phonological feature is one of term of the various levels of linguistic analysis that studies the term of sound systems of language. In this research, it will discuss the phonological features in the poems that overwhelm rhyme and meter (supra- segmental features of poetry), alliteration, consonance, and assonance (segmental features in poetry).

The third terminology is poem. Literature refers to novel, poetry, fictions, plays which have artistics qualities. Arp and Johnson stated that “poem might be defined as a kind of language that says more and says it more intensely than does ordinary language” (2009, p.633). Therefore, it can be said that poem is one of literary work which bring the reader a sense and a perception of life, and it concern is with experience.

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CHAPTER II

REVIEW OF LITERATURE

A. Review of Related Studies

In this part, the previous studies of several people who researched about styles of language that are used in the poem are displayed. There are four studies from the previous researches that contribute to this research. They help this research to develop ideas of the topic.

The first research is entitled John Keats’s “La Belle Dame Sans Merci”: A

Stylistic Analysis by Al Shawa (2015). There are three purposes that Al Shawa focuses on. Firstly, Al Shawa’s research tries to identify the stylistic markers of

Keat’s “La Belle Dame Sans Merci”. Secondly, it tries to study how stylistic devices used to achieve the communicative purpose of Keat’s “La Belle Dame

Sans Merci”. Thirdly, Al Shawa’s study identifies the functional style that the poem is representative of. The object of the research is taken from John Keat’s poem, entitled “La Belle Dame Sans Merci”.

In order to analyze the data, Al Shawa uses stylistic approach since stylistics can be used for both non-literary texts and literary texts. Al Shawa decides to focus on analyzing the text of the poem on four different levels of stylistics: grammatical, graphological, morphological, and phonological.

The contribution of his study into this research lies on the analysis of the phonological features. In phonological level analysis, Al Shawa observes the employment of meter, alliteration, consonance, assonance, repetition, and rhyme

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scheme in John Keat’s “La Belle Dame Sans Merci”. In his analysis, Al Shawa finds that John Keat’s “La Belle Dame Sans Merci” has a steady rhythm that creates underlying beat and masculine rhyme scheme. The alliteration and consonance makes layers of sound that work like harmony in music. He also finds that the poem’s meter is iambic tetrameter and has standard schematic (ABCB). In concluding his phonological analysis level, Al Shawa mentions that the use of certain phonological devices in the poem is able to create auditory imagery of the poem.

The difference between Al Shawa’s research and this research lies on the discussion and the object of the study. This research analyzes the poems that are written by Robert Frost entitled “Fire and Ice” and “Nothing Gold Can Stay”, yet

Al Shawa analyses John Keat’s poem which entitled “La Belle Dame Sans

Merci”. In his analysis, Al Shawa observes the text of the poem in four different levels of stylistics, which are grammatical, graphological, morphological, and phonological. By analyzing the poem through four different levels of stylistics, Al

Shawa can find the style of John Keat’s poem. Therefore, this study is more specific in terms of analyzing the style of Robert Frost through its phonological features.

The second research is entitled Phonology and Stylistics: A Phonaesthetic

Study of Gray’s ‘Elegy Written in a Country Churchyarrd’ by Bassey Garvey

Ufot in 2013. Ufot states that his research is a stylistic study of the phonological features of Thomas Gray’s ‘Elegy Written in a Country Churchyard’ such as phonaesthetic and prosody (2013). The purpose of his research is to give a

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detailed investigation of all the phonaesthetic devices in the poem which support the meaning of the poem. The object of his research is taken from Thomas Gray’s poem, entitled “Elegy Written in a Country Churchyard”.

Furthermore, in his analysis, Ufot looks at the syllabification, meter, rhyme, elision, onomatopoeia, alliteration, assonance, and consonance to support the meaning of the poem. Ufot concludes that the poem shows melodic contemplation about the possibilities for virtuous living and greatness among simple, rural people (Ufot, 2013, p.125). From the findings, he found that the preponderance of these phonological features and their phonaesthetic qualities makes Gray’s “Elegy Written in a Country Churchyard” more of a contemplative poem of eulogy (panegyric) rather than a traditional elegy.

The contribution of his study into this research lies on the use of the theories. The theories that are used are phonology and stylistics. His research employs metrical phonological theories from Stallworthy, Wales, Katamba,

Leech, and Roach which can help the writer in this study to appraise the suprasegmental features of poetry such as rhyme, meter, alliteration, assonance, and consonance. As a result, the writer aims to conduct the similar research with the same theoretical grounds on a different object. Ufot’s research uses Thomas

Gray’s poem which is entitled “Elegy Written in a Country Churchyard”, yet this research uses the poems from Robert Frost which are entitled “Fire and Ice” and

“Nothing Gold Can Stay”.

The third research is written by Isti’anah in 2017, which is entitled Stylistic

Analysis of Maya Angelou’s Equality. In her study, Isti’anah aims to carry out a

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stylistic analysis of Maya Angelou’s “Equality”. There are some language levels that Isti’anah observed , which are the phonological, graphological, grammatical, and semantic levels. The findings of her research show that each of the elements has identifiable functions which contribute to the effective meaning of freedom in

Maya Angelou’s “Equality”. She concludes that stylistics is applied to analyze literary work so that the appreciation to it can be achieved. Isti’anah’s study helps the writer on the theory that she used and the analysis of stylistics which include a phonological level theory of stylistics and analysis in it.

This research has a different perspective from Isti’anah’s research in terms of discussion and object. Isti’anah analyzes the stylistics analysis which can contribute to observe the meanings of Maya Angelou’s poem “Equality” through all of stylistic elements. However, this research has more focuses on phonological level of stylistic to find out Robert Frost style through his poems.

The last research that is related to this study is Flores’ Phonological

Features of Basilectal Philippine English: An Exploratory Study (2016). In her study, Flores aims to describe the result of a data-based investigation of the phonology of the basilectal Phillipne English as a response to Tupaz’. The findings of her study provide a description of the phonological features of

“marginalized” voices that include minimally functionally literat Filipinos. She concludes that the segmental and suprasegmental level from the Cebuano speakers from a region do not diverge much from the General American English pattern.

This current study is different from Flores’ study. The difference lies on the object and the discussion of the study. Flore’s study focuses on basilectal

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Phillipine English which discuss about the stress, consonance, and vowels, while this study present the phonological features on the poem which is written by

Robert Frost. This study focuses on phonological features in literary work that overwhelm rhyme, meter, alliteration, consonance, and assonance. This study will develop the theories about phonological features. The writer will discover phonological features through literary work.

B. Review of Related Theories

In this part, the theories associated with stylistics, phonology, poetry, and the poetry of Robert Frost will be presented in the following discussions.

1. Stylistics

Stylistics can be defined as the study of style in language. Style in language is “a set of conscious or unconscious choices of expression, inspired or induced by a particular context” (Verdonk, 2002, p.21). According to Verdonk

(2002), stylistics itself is “the analysis of distinctive expression in language and the description of its purpose and effect” (p.4). Concurring with Verdonk, Leech

& Short state that stylistics describes what use is made of language in order to explain something (2007, p.11). It is supported by Simpson (2004, p.2) who defines stylistics as “a method of textual interpretation in which primacy of place is assigned to language.” It can be concluded that language is the most important thing to explore stylistics because it contains various forms, patterns, and levels that represent linguistic structures to lead to the entrance of interpretation.

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Short (1996, p.5) states the concern of stylistics is about linguistic description and meaning (interpretation) and those must be interrelated explicitly.

It can be said that stylistics relates the linguistics descriptors to interpretation. He also adds that “analyzing linguistic structure at various level (grammar, sounds, words, textual structure) helps to understand the sentences of the text and the relations between them” (p.5).

Furthermore, linguistic description turns to be the essential part of a good criticism when it relates to interpretation. Short argues that “it constitutes a large part of what is involved, say, in supporting a particular view of a poem of arguing for one interpretation as against another” (1996, p.5). A shared knowledge of

English structure and the common procedures of inference employ to interpret utterances.

Besides the part of good criticism, conducting stylistics also shares other purposes. The first used of stylistics is “to uncover authrial styles, text styles, and other kinds of styles and to recognize that style and meaning are inextricably linked with one another” (Short, 1996, p.27). Secondly, stylistics is used to explore language and creativity creativity in language use, and enriches the ways of thinking about language to help in understanding the text (Simpson, 2004, p.3).

The scopes of stylistics are so wide, it reaches some types of texts, and for example advertisements, slogans, and newspaper articles, yet literary text is dealt the most in stylistics, which is called literary stylistics. Literary stylistics itself strives to explain the relation between language and artistic function (Leech &

Short, 2007, p.11). As cited in Costa (2015), Leech (1985) defines stylistics as the

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study of the language usage in literature in which the general language characteristics particularly in the English language are investigated as a means of literary expression.

Finally, stylistics can indicate the themes of the literary text in large-scale features because stylistics has some level of analysis to observe it. In stylistics, grammar, words, textual structure, and sound can be observed with its level of analysis. One of them is phonological level of stylistic that observes the phonological feature of literary work especially in a poem.

2. Phonology

Phonology is the study of sound system of a particular language. It is supported by Simpson (2004, p.6) who states that phonology encompasses the meaning potential of the sounds of spoken language. The analysis of this part relates to the rules of pronunciation. Simpson also adds that this deals with the issue of sound patterning in literature (p.15).

As what Verdonk has analyzed in the poem of Seamus Heaney, he found that the poem will be the example of analyzing phonological level. The German word Brecht was pronounced as /brekt/ which is formed a perfect rhyme with

‘affect’. In the other hand, /brek/ ruins the rhyme scheme, which is also suggestive of the mother’s contrariness (2002, p.59).

Jeffries and Mclntyre state that the task of stylistic in this level is to break down the phonological features of poetic style (2010, p.35). Phonological devices

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are obtained through the repetition exhibited, such as in rhyme, metre, alliteration, consonance, and assonance. a. Rhyme

Rhyme is one of supra-segmental features in poetry. The use of repetition combinations of sound in rhymes can attract the listener’ or reader’ attention.

Jeffries and Mclntyre (2010) describe that “rhyme, the more recognizable of these patterns, most typically occurs when there are two (or more) words which end with a stressed syllable, where the vowel and the final consonant are the same”

(p.38). In line with Jeffries & Mclntyre, Ufot describes rhyme as “the repetition of the arrangement of the nucleus (vowel) and coda (final consonant) at the ends of two or more lines of a verse” (2013).

There are two main basic types of rhyme, which are masculine rhyme and feminine rhyme. Masculine rhyme is the rhyme produced when the words are monosyllabic like “bear” and “bare”. While feminine rhyme is a rhyme produced when the words are polysyllabic like in the words “horner” and “corner”. In the feminine rhymes, the last syllable is unstressed (Gill, 1995, pp.390-391). Arp and

Johnson adds that masculine rhyme is a rhyme in which the repeated accented vowel sound is in the final syllable of the word (2009, p.1664).

In addition to these main types of rhyme, as what has been summarized by

Boulton (1982, p.139-141,144,147), there are also some forms of verse which determine rhyme scheme. First, Blank Verse is a sequence of rhymed iambic pentameters. Second, Heroic Couplet which is an iambic pentameter lines rhyming in pairs. Third, Couplets verse which does lines rhyme in pairs with any

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meter. Fourth, Triplets verse which has three sets lines rhyming in any meter.

Then, a poem of fourteen iambic pentameter lines which called Sonnet Verse.

Moreover, there are Terza Rima and Ottava Rima verse. Terza Rima is an iambic pentameter which is rhyming aba bcb cdc ded and ending with a quatrain or couplet to avoid leaving one word unrhymed. While, Ottava Rima is an eight lines of iambic pentameters rhyming abababcc. Next, Spenserian Stanza, which is an eight lines of iambic pentameters followed by one iambic hexameter

(Alexandrine) and rhyming ababbcbcc. Then, seven lines of iambic pentameters rhyming ababbcc which called Rhyme Royal. After that, Ballade which means three stanzas of eight or ten lines each, with four of five lines at the end, known as the envoy, using three or four rhymes only in the same order in each stanza and with exactly the same line concluding each stanza and the envoy. The last is Free

Verse, it is an unrhymed verse without a traditional metrical form.

Therefore, rhyme cannot be separated from poetry. Rhyme in poetry becomes a very crucial element in the music of such verse, reinforcing the memorable quality of poetry. The relationship of meanings between words is emphasized by the relationship of rhyme. Gill (1995) points that “when the words rhymed are important, the whole meaning of the poem can be focused” (p.391). b. Meter

In analyzing poetry through its phonological level, meter is also important to observe. Meter is one of supra-segmental feature in poetry. Gill (1995) defines that meter is “the regular rhythms of poetic lines, created by a sequence of stressed or unstressed syllables” (p.387). It is supported by Haynes in Carter and

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Simpson (2005, p.235) who states that “There is a temptation to see meter wholly in terms of phonological schemes, i.e. as a matter of how many stresses and syllables are permitted in a line of verse.”

The stressed and unstressed syllables in poetry which is defined as meter are associated with foot. Haynes in Carter and Simpson (2005) explains that meter focuses on the foot, “The foot is a pulse, or stress, falling on one syllable in words which are important from the point of view of content” (p.238).

In analyzing the meter, the presence of the foot inside the line is very important to determine the type of meter. Simpson (2004) defines that “In metrics, the foot is the basic unit of analysis and it refers to the span of stressed and unstressed syllables that forms a rhythmical pattern” (p.15). The number of their constituent stressed and unstressed syllable specify the metrical feet of the line.

There are some types of the metrical feet which most commonly used. Arp and Johnson (2009, p.839) stated that there are five types of foot in poem, which are iambic foot, trochaic foot, anapestic foot, and dactylic foot. The unstressed and stressed syllables in this type of foot is presented in ( X ) for unstressed syllables and ( / ) for stressed syllables :

1) Iambic foot

Iambic foot has two syllables which the first is unstressed and the second is stressed syllable, and represented in “X /” to show the stressed and unstressed syllable. Examples include:

X / X / X / X / X / X /

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ii. That time | of year | thou may’st | in me | behold

X / X / X / X / X /

2) Trochaic foot

Trochaic foot has two syllables which the first syllable is stressed and the second is unstressed, and it is represented in “ / X” to show the unstressed and stressed syllable. For example :

i. London | bridge is | falling | down

/ X / X / X /

ii. There they | are my | fifty | men and | women

/ X / X / X / X / X

3) Anapestic foot

Anapestic foot has three syllables which the first and the second syllables are unstressed, continued with the last stressed syllable, it is represented in “X X

/” to describe the two unstressed syllables which are followed by one stressed syllable. Examples are:

i. The Assy | rian came down | like a wolf | on the fold

X X / X X / X X / X X /

ii. But I hate | to be cheat | ed and ne | ver will buy

X X / X X / X X / X X /

4) Dactylic foot

Dactylic foot has three syllables, reverse with Anapestic foot. In dactylic, the first syllable is stressed, while the second and the third syllables are

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unstressed, it is represented in “ / X X” to describe the first stressed syllable which is followed by two unstressed syllables. Example include :

i. Take her up | tenderly | lift her with | care

/ X X / X X / X X /

ii. Eve with her | basket was | deep in the | bells and grass

/ X X / X X / X X / X X

5) Spondaic foot

Spondaic foot has two syllables which the two of the syllables are stressed, and it is represented in “ / / “ to show the two stressed syllables. For example:

i. Heart break

/ /

ii. Draw back

/ /

In addition to the type of metrical feet, there are also the numbers of feet in each line. Arp and Johnson (2009, p.839) summarizes several types of meter in

English. The division of each foot is symbolized by ( | ) sign :

1) Monometer (one foot), for example::

i. Receive

X / (iambic, one foot)

ii. Understand

X X / (anapestic, one foot)

2) Dimeter (two feet), examples include:

i. I woke up | on a boat

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X X / X X / (anapestic, two feet)

ii. I sing | of brooks

X / X / (iambic, two feet)

3) Trimeter (three feet)

i. It was | the best | of times |

X / X / X / (iambic, three feet)

ii. The Assy | rian came down | like a wolf

X X / X X / X X / (anapestic, three feet)

4) Tetrameter (four feet)

i. Timothy | Garrison | wanted to | simplify

/ X X / X X / X X / X X (dactylic,four feet)

ii. But I love | to be cheat | ed and ne | ver will buy

X X / X X / X X / X X / (anapestic,four feet)

5) Pentameter (five feet)

i. I sing | of brooks | of blos | soms birds | and bowers

X / X / X / X / X / (iambic,five feet)

ii. It is | the east | and Ju | liet is | the sun

X / X / X / X / X / (iambic,five feet)

6) Hexameter (six feet)

/ X X / X X / X X / X X / X X / X X

(dactylic, six feet)

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tick

/ X X / X X / X X / X X / X X /

/ (dactylic, six feet)

The most common form of meter in poetry written in English is iambic pentameter which has five feet and each feet composed by two syllables

(unstressed, stressed). c. Alliteration, Consonance, and Assonance

The further analysis of phonological level is about the other poetic devices like assonance, consonance, and alliteration. The employment of assonance, consonance, and alliteration is refered to segmental sound features. These sound strategies repeat some particular sounds whether they are consonants or vowels.

1) Alliteration

According to Arp and Johnson (2009), alliteration is “the repetition of initial consonant sounds” (p.820). It is supported by Bradford who defines alliteration as “the repetition of clusters of similar consonant sounds within individual lines and across sequences of lines” (2005, p.16). Agemo (2011, p.21) adds that alliteration is the repetition of the initial consonant in two or more adjacent words. It can be concluded that alliteration occurs when the initial consonant sound of some couples of words is repeated. For example, “She sells sea-shells down by the sea-shore”. In this phrases, all the words start with the /s/ sound.

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2) Consonance

Consonance is nearly similar to alliteration. Alliteration repeats the initial consonant sounds, while consonance repeats the final consonant sounds. Madden

(2002) states that consonance occurs when some couples of consonant sounds are repeated (p.70). It is supported by Arp and Johnson (2009) who state that consonance is “the repetition of final consonant sound” (p.820). It can be concluded that consonance occurs when the final consonant sound of some couples of words is repeated. For example, “If you are a dreamer, a wisher, a liar, a hope-er, a pray-er, a magic bean buyer”. In that one of poem’s line, the consonant sound of / r / is repeated in the end of the words.

3) Assonance

The other segmental sound feature that can be found in the poem is assonance. Simpson mentions that the type of vowel harmony that consolidates points of equivalence across the poetic line, known as assonance (2004, p.52).

Bradford (2005) explains that “assonance is the repetition of clusters of similar vowel within individual lines and across sequences of lines (p.16). When the same vowel sound is repeated in adjancent words, it is called as assonance, for example

Fake mates (McLoughlin, 2000:21). In that example, the vowel sound of / eɪ / is repeated in the words.

3. Poem

Arp and Johnson state that “poetry might be defined as a kind of language that says more and says it more intensely than does ordinary language” (2009,

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p.633). Therefore, it can be said that poetry is one of literary works which brings the reader a sense and a perception of life, and it concern is with experience.

Literary language and poetry as a part of it use the poetic function to make the language more beautiful. Jakobson (1987) states that poetic function relates to the aesthetic and artistic aspects of language, it is also mainly used in literature and poetry (pp.72-73). “To study literature, is to study ‘poetics’, which is ‘an analysis of a work’s constituent parts, its linguistic and structural features, or its

‘form’ ” (Bresseler, 2007, p.51). Bresseler adds that ‘form’ is called ‘devices’ which include the artfulness and literariness of any text. It can be concluded that poetic devices are the methods of arrangement of the words which can assist the writer in developing expressions pleasing to his readers. Some poetic devices are based on the sound instrumentation of the text which connotes a certain atmosphere or mood.

C. Theoretical Framework

According to the theories that have been discussed, the focus of this study is on the phonological level of stylistics. Therefore, there are two main points to be analyzed in this study. The first point is the phonological features found in

“Fire and Ice” and “Nothing Gold Can Stay” poems and the second point is the feature contribution to Robert Frost’s style in making poems.

The theory of the phonology is needed to answer the first point. The researcher uses the phonological levels of analysis in stylistics proposed by

Verdonk (2002). The analysis will cover the phonological features of analysis

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such as rhyme, meter, alliteration, consonance, and assonance. These phonological devices help the writer to guide what phonological features are found in the poems.

Moreover, to answer the second point, the result of the problem in the first point will be related to the style of Robert Frost in making poems. The result of the first problem will cover rhyme, meter, alliteration, consonance, and assonance.

From the result of the first point, the style of Robert Frost will be analyzed by relating those phonological features with the definition of poem and Robert

Frost’s poem. As a result, this study will find the style of Robert Frost in making poem through the phonological features of his “Fire and Ice” and “Nothing Gold

Can Stay”.

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CHAPTER III

METHODOLOGY

This chapter is divided into three parts. They are object of the study, approach of the study, and method of the study. The object of the study emphasizes linguistic features that will be analyzed based on the data. The approach of the study describes what kind of approaches that is used to analyze the linguistic features. The method of the study shows the ways of collecting and analyzing the data.

A. Object of the Study

The object in the research focused on poems by Robert Frost. In this research, the writer used two of Robert Frost’s poems: “Fire and Ice” and

“Nothing Gold Can Stay”. Those two poems were obtained from New Hampshire.

This book was published in 1923 by Henry Holt & amp Company. The first poem,

“Fire and Ice”, has one stanza which consists of nine lines. On the other hand, the second poem, “Nothing Gold Can Stay”, has one stanza which consists of eight lines.

The objects of the study are focused on the phonological level of stylistics which overwhelmed the analysis of suprasegmental sound features (rhyme and meter) and segmental sound features (alliteration, consonance, and assonance). In rhyme, the data covered the repetition of the arrangement of the nucleus (vowel) and coda (final consonant) at the end of each line of the poems. In meter, the data

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were the types of the metrical feet of each line in the poems. In alliteration, the data related to the repetition of initial consonant words of each poem’s line. In consonance, the data covered the repetition of final consonant words of each line in the poems. At last, in assonance, the data covered the repetition of vowel sound in each poem’s line.

B. Approach of the Study

Stylistics became the approach to the analysis of texts (literary). Stylistics is the approach of the analysis of texts (literary) that used linguistic descriptors in which it includes a limit of two subjects, literature and linguistics (Short, 1996, p.1). Stylistic approach is appropriate to use in this research because the data used in this research is literary work. The stylistic approach in this study becomes the groundwork for analyzing two selected poems of Robert Frost. The analysis of this study is made under the aspects of phonological level of stylistics which covers rhyme, meter, alliteration, consonance, and assonance.

C. Method of the Study

1. Data Collection

This study conducted a data population method which means the similarity in characteristics between one group of statistics (Best, 2006, p.13). In this study, the population was the whole data in two poems of Robert Frost, “Fire and Ice” and “Nothing Gold Can Stay”. Moreover, the study aimed to find out the

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phonological features found in two selected poems of Robert Frost. There were several steps of collecting the data.

Firstly, the writer came to a decision to analyze Robert Frost’s poems. The first consideration to analyze Robert Frost’s poems was because the length of poems was shorter than playwright. The second consideration was because Robert

Frost is the poet who concerned with meter and length of lines. Then, the writer limited the scope of the study. As Frost concerned with daily life which occurs in his life and his surrounding and also nature, the writer decided to analyze the poems which portray Robert Frost’s life and its surrounding.

Thirdly, the writer read the book of Robert Frost’s poems to search for the poems that would be analyzed. The writer came to a decision to select two poems which was in one book, entitled New Hampshire that made Frost get his first

Pulitzer. The sound of the two poems should be rhyming.

2. Data Analysis

In order to analyze the phonological features found in “Fire and Ice” and

“Nothing Gold Can Stay” poems, the analysis of the study was based on the phonological level of stylistics. It dealt with the rhyme, meter, assonance, and alliteration. There were two research problems which were formulated. Therefore, some steps were employed in the subsequent parts to answer the first problem.

First, the writer analyzed the segmental sound features of the poems. It overwhelmed alliteration, consonance, and assonance of the poems. In alliteration, the writer found out the repetition of the initial consonant sound in the two poems.

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In the part of analyzing consonance, the writer observed the repetition of the final consonant sound on the poems. Then, the writer analyzed the assonance of the two poems. The writer found out the repetition of vowel sound which occurred on the two poems.

Second, the writer analyzed the suprasegmental sound features of the poems. In this part, the writer analyzed rhyme and meter which occurred in the poems. The analysis of rhyme focused on the repetition of the arrangement of the nucleus (vowel) and the coda (final consonant) at the end of two or more lines in the poems. After the rhymes of the poems were found, the writer analyzed the type of rhyme and the rhyme scheme of the poems. Next, the writer analyzed the meter of the poems. This meter analysis focused on the metrical feet of the poems.

The metrical feet consist of the type of foot and the number of feet, such as iambic pentameter, trochaic trimeter, dactylic octameter, etc.

Moreover, in order to answer the second problem, the writer obtained the phonological features. Those phonological features have been gained as the results of the first problem. The writer related each phonological feature which occurs in “Fire and Ice” and “Nothing Gold Can Stay” poems to reveal the style of Robert Frost in making poems.

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CHAPTER IV

ANALYSIS RESULTS AND DISCUSSIONS

This chapter divided into two main parts of discussions. The first part analyzes the phonological features found in Robert Frost’s “Fire and Ice” and

“Nothing Gold Can Stay” poems. It answers the first problem. The second part discusses how those features can constitute the style of Robert Frost in making poems. It answers the second problem of the study.

A. Phonological Features in Robert Frost’s “Fire and Ice” and “Nothing

Gold Can Stay”

This analysis divided into segmental sound features and supra-segmental sound features. The segmental sound features overwhelm alliteration, consonance, and assonance, while the supra-segmental sound features overwhelm rhyme and meter. The analysis includes the phonetic transcriptions of the words and those are placed inside slash brackets.

1. “Fire and Ice” Poem a. Segmental Sound Features

Robert Frost has used some segmental sound features in “Fire and Ice” poem. It consists of some sound devices such as alliteration, assonance, and consonance, though most of them only appear as the aesthetic function in the poem. However, it turns out that some sound devices can help the writer to find

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out Robert Frost’s style in making poem. In this analysis, the writer focuses on the repeated sounds employed by the poet. Therefore, those will be presented in the following discussion.

First, other than the segmental sound features like alliteration and consonance, the most significant finding in this poem is the assonance that helps the writer to suggest the style of Robert Frost. Bradford (2005) explains that

“assonance is the repetition of clusters of similar vowel within individual lines and across sequences of lines” (p.16). Consequently, the repeated sounds which found in “Fire and Ice” poem provided in Table 1.

Table 1. Assonance Found in “Fire and Ice”

Line Assonance 1 Some say the world will end in fire / ɪ / 3 From what I’ve tasted of desire / ɒ / 3 From what I’ve tasted of desire / aɪ / 4 I hold with those who favor fire / aɪ / 4 I hold with those who favor fire / əʊ / 4 I hold with those who favor fire / ə / 5 But if it had to perish twice / ɪ / 6 I think I know enough of hate / ɪ / 6 I think I know enough of hate / aɪ /

From the table above, the assonance found in this poem are the vowel / ɪ /,

/ ɒ /, / aɪ /, / əʊ /, and / ə /. The front high lax vowel / ɪ / is repeated in lines 1, 5, and 6. Also, line 3 repeats the vowel / ɒ / in words “from” and “of”. Moreover, it can be stated that this sound device supports the remembrance of the title which can be seen in line 3 with words “I’ve” and “desire”, line 4 with words “I” and

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“fire”, and line 6 with pronoun “I” and “I” that repeats dipthong / aɪ /. This poem also uses the repetition of diphthong / əʊ / with the words “hold” and “those” which occur in line 4. In line 4, the central mid lax vowel / ə / is also repeated by the words “favor” and “fire”.

Therefore, it can be seen that the front high lax vowel / ɪ / and diphtong / aɪ

/ dominates “Fire and Ice” poem. The front high lax vowel / ɪ / is repeated in line

1, 5 and 6 with the words “will”, “in”, “if”, “it”, “think”, and “enough”, while the dipthong / aɪ / is repeated in lines 3,4, and 6 with the words “I’ve”, “desire”, “I”, and “fire”. The other assonance such as / ɒ /, diphtong / əʊ /, and central mid lax vowel / ə / are repeated in lines 3 and 4 in the words “from”, “of”, “hold”, “those”,

“favor”, and “fire”. The poem has more assonance than the other sound devices, such as alliteration and consonance.

Second, the segmental sound features found in this poem is the alliteration.

According to Arp and Johnson (2009), alliteration is “the repetition of initial consonant sounds” (p.820). The alliteration also suggests the style of Robert Frost in making poem. Moreover, the repeatition of initial sounds will be provided in

Table 2.

Table 2. Alliteration Found in “Fire and Ice”

Line Alliteration 1 Some say the world will end in fire / s / 1 Some say the world will end in fire / w / 2 Some say in ice / s / 4 I hold with those who favor fire / h / 4 I hold with those who favor fire / f /

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5 But if it had to perish twice / t /

From the table above, the alliteration of the poem can be found in lines 1,

2, 4 and 5. The alveolar voiceless consonant / s / and bilabial voiced / w / are repeated in line 1. The alveolar voiceless consonant / s / repeated in the words

“some” and “say”, whereas the bilabial voiced consonant / w / repeated in the words “world” and “will”. In line 2, the alveolar voiceless consonant / s / is repeated in the initial sound of words with the words “some” and “say”. There are two repetitions of the initial sound that found in line 4. First, line 4 repeats the glottal voiceless consonant / h / with the words “hold” and “who”. Second, the repetition of the labio-dental voiceless consonant / f / with the words “favor” and

“fire” are found. The words in line 5 “to” and “twice” repeat the alveolar voiceless consonant / t /.

Thus, it can be seen that the alveolar voiceless consonant / s / is commonly found in this poem. The alveolar voiceless consonant / s / is repeated in lines 1 and 2 with the words “some” and “say”. The other alliteration such as bilabial voiced consonant / w /, glottal voiceless consonant / h /, labio-dental voiced consonant / f /, and alveolar voiceless consonant / t / is just repeated once in others line. The bilabial voiced / w / is repeated in line 1 with the words “world” and

“will”. The glottal voiced consonant / h / is repeated in line 4 with the words

“hold” and “who”. The labio-dental voiceless consonant / f / is repeated in line 4 with the words “favor” and “fire”. The alveolar voiceless consonant / t / is repeated in line 5 with the words “to” and “twice”. This poem uses alliteration rarely. The alliteration just found in 5 lines of the poem.

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Last, Frost also applies the consonance in “Fire and Ice” poem. Arp and

Johnson states that consonance is “the repetition of final consonant sound” (2009, p.820).. Consequently, the repetition of final consonant sound will be provided in

Table 3.

Table 3. Consonance Found in “Fire and Ice”

Line Consonance 1 Some say the world will end in fire / d / 5 But if it had to perish twice / t /

From the table above, the consonance sound that found in this poem are / d

/ and / t /. The alveolar voiced consonant / d / is repeated in line 1 in the words

“end” and “in”. The repetition of the alveolar voiceless consonant / t / appears in line 5 in the words “but” and “it”.

It can be seen that the alveolar voiced consonant / d / and alveolar voiceless consonant / t / just appears in two lines of this poem. Each of alveolar voiced consonant / d / and alveolar voiceless consonant / t / is repeated once. It is repeated in lines 1 and 5. The alveolar voiced consonant / d / is repeated in the words “world” and “end”. While, the alveolar voiceless consonant / t / is repeated in the words “but” and “it”.

Therefore, by this analysis, it is clear that the poet uses all sound devices which are assonance, consonance, and alliteration in his poem entitled “Fire and

Ice”. The poet uses assonance more frequently in each line of this poem. These all sound devices show that the poet cares about the use of some repetition of sound in his poem.

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b. Supra-Segmental Sound Features

Robert Frost has also used some supra-segmental sound features in his

“Fire and Ice” poem. It consists of rhyme which includes the patterns and the forms of the poem and meter which includes the metrical feet of the poem. Both rhyme and meter also help the writer to find out the Robert Frost’s style in making poem. In this analysis, the writer focuses on the patterns, the forms, and the orderliness employed by the poet. Therefore, those will be presented in the following discussion.

i. Rhyme

The analysis of the rhyme includes the patterns of the poem and the forms of the poem. Both the patterns and the forms help to find the style of Robert Frost.

Rhyme is one of the supra-segmental features in poetry. Frost emphasizes the use of repetition in rhymes to attract the listeners’ and the readers’ attention. In Robert

Frost’s “Fire and Ice”, an interesting use of rhymes is obvious.

The poem consists of one stanza, and it contains 9 lines. Frost uses his own verse form in this poem. It means that he do not use any traditional verse in this poem, but it is also not included into free verse because it is written in metrical traditional form. Moreover, the rhymed lines can be seen from the examination of this stanza of the poem. The use of numbering here is aimed to show the line of the poem. The rhyme of the poem will be provided in table 4.

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Table 4. Rhyme Found in “Fire and Ice”

Line Rhyme 1 Some say the world will end in fire /aɪə/ 2 Some say in ice /aɪs/ 3 From what I’ve tasted of desire /aɪə/ 4 I hold with those who favor fire /aɪə/ 5 But if it had to perish twice /aɪs/ 6 I think I know enough of hate /eɪt/ 7 To know that for destruction ice /aɪs/ 8 Is also great /eɪt/ 9 And would suffice /aɪs/

From the rhymed words above, the flow of the patterns is changing. The end rhyme pattern of each line of the poem is categorized into A, B, and C. At this poem, A is intended for end rhyme /aɪə/, B is intended for end rhyme /aɪs/, and C is intended for end rhyme /eɪt/. At first, the first three lines of the poem are patterned ABA. Then, the next three lines, lines 4 until lines 6, are patterned in

ABC end rhyme. In the last three lines, lines 7 until line 9, the patterns of the rhymes are almost similar as the first three lines form rhyme. The difference is in this last three lines is pattered BCB end rhyme. Thus, this poem has end rhyme pattern ABAABCBCB. It is Frost’s own verse. Neither the traditional verse nor free verse is used by Frost in this poem.

Moreover, from the rhymed words provided before, the poet mostly uses diphthongs as the nucleus combined with the consonant which is roled as the coda. In the first poem, the rhyme sound /aɪə/ is repeated in lines 1, 3, and 4,

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which is represented by the words “fire” and “desire”. Lines 1, 3, and 4 have a masculine or strong rhyme because the word “fire” is monosyllabic words and the word “desire” has the stressed final syllable. The rhyme is in a form of Nucleus.

Another rhyming sound is /aɪs/, which is repeated in lines 2, 5, 7, and 9 by the words “ice”, “twice”, and “suffice”. The words “ice”, “twice”, and “suffice” have masculine rhyme. Masculine rhyme, also known as single rhyme, is a rhyme in which the repeated accented vowel sound is in the final syllable of the words involved (Arp&Johnson, 2009, p.1664). Thus, masculine rhyme is not only from monosyllabic word but also the word which the repeated stressed sound is in the final syllable, for example the word “suffice” above. The repeated rhyme consist of Nucleus and Coda, which is similar in lines 6 and 8, shown by words “hate” and “great”, which are monosyllabic. They are also categorized as masculine rhyme. The sound repeated is /eɪt/. Therefore, the end rhyme of the poem is

ABAABCBCB. ii. Meter

Instead of rhyme, meter is another supra-segmental sound feature which can be observed in poetry. Gill (1995) defines that meter is “the regular rhythms of poetic lines, created by a sequence of stressed or unstressed syllables” (p.387).

The analysis of meter includes the metrical feet of the poem and the number of feet of the poem. Meter refers to the pattern of stressed and unstressed syllables in a line. In observing meter, the existence of foot in a line becomes prominent to decide the type of meter (Simpson, 2004, p.15). The number of feet refers to the number of the group of syllables which make up one metrical unit.

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Moreover, the meter of the lines can be seen from the examination of this stanza of the poem. The stressed syllables is represented in ( / ), the unstressed syllables is represented in ( X ) and Therefore, the meter of the poem will be provided in table 5. The use of numbering here is aimed to show the line of the poem.

Table 5. Metrical Pattern Found in “Fire and Ice”

Line Meter

From the meter above, it can be seen that the poem employs mix type of meter. There are two types of meter used in “Fire and Ice” poem. This poem has iambic tetrameter type and iambic dimeter type. Iambic tetrameter is the metrical pattern that consist of four feet and each foot patterned unstressed and stressed syllables. Then, iambic dimeter is the metrical pattern that consist of two feet and

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each foot patterned unstressed and stressed syllables. Iambic tetrameter found in lines 1 and 3 until 7, while iambic dimeter can be found in line 2, 8 and 9.

Lines 1, 3, 4, 5, 6, and 7 have an iambic tetrameter type of meter. Iambic tetrameter can be seen from the number of feet and the type of foot form in each foot. Two of examples, iambic tetrameter found in lines 1 and 3.

Line Meter

Iambic tetrameter in line 1 can be seen from its type of foot which shows the iambic foot. The iambic foot is the foot which the unstressed syllable followed by the stressed syllable behind. In line 1, the words “some”, “the”, “will”, and

“in” are the unstressed syllables in that line. They are followed by the stressed syllables word such as “say”, “world”, “end”, and “fire”. The unstressed and stressed syllables form is called iambic. Then, the tetrameter which is found in line 1 occurs because has four unstressed and stressed syllables form. Thus, it has four feet, which is called tetrameter.

The second example is iambic tetrameter in line 3. The type of foot form shows the iambic foot, which means that it has a metrical foot patterned unstresssed syllable followed by stressed syllable. In this line, the words “from”,

“I’ve”, syllable “ted” from the word “tasted”, and syllable “de” from the word

“desire” are the unstressed syllables in that line. They are followed by the words

“what”, syllable “tas” from the word “tasted, “of”, and syllable “sire” in the word

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“desire” which are stressed syllable. Similar to line 1 in this poem, this line also has iambic tetrameter, which means there are four unstressed and stressed syllables form.

Meanwhile, lines 2, 8, and 9 have an iambic dimeter type of meter. Iambic dimeter also can be seen from the number of feet and the type of foot form in each foot.

Line Meter

2 Some say | in ice X / X / 8 Is al | so great X / X / 9 And would | suffice X / X /

Lines 2, 8, and 9 are written in iambic dimeter. It can be seen from its type of foot which shows the iambic foot. The iambic foot is the foot which the unstressed syllable followed by the stressed syllable. The words “some” and “in” line 2, “is” and “so” in line 8, and “and” and syllable “suf” from the word

“suffice” in line 9 are the unstressed syllables found in those lines. They are followed by the stressed syllables such as the word “say” and “ice” in line 2, syllable “al” from the word “also” and the word “great” in line 8, “would” and syllable “fice” from the word “suffice” in line 9. Then, the dimeter type can be seen from the number of feet which found in the lines. In line 2, 8, and 9, they have two feet, which is called dimeter.

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2. “Nothing Gold Can Stay” Poem a. Segmental Sound Features

Robert Frost has also used some segmental sound features in his “Nothing

Gold Can Stay” poem. It consists of some sound devices such as alliteration, assonance, and consonance. In this poem, some sound devices also can help the writer to find the Robert Frost’s style in making poem. In this analysis, the writer focuses on the repeated sounds employed by the poet. Therefore, those will be presented in the following discussion.

First, similar to “Fire and Ice” poem, “Nothing Gold Can Stay” poem also has the assonance as the most significant finding other than the segmental sound features like alliteration and consonance. The assonance helps the writer to suggest the style of Robert Frost. Bradford (2005) explains that “assonance is the repetition of clusters of similar vowel within individual lines and across sequences of lines (p.16). Consequently, the repetition of vowel sound is provided in Table

Table 6. Assonance Found in “Nothing Gold Can Stay”

Line Assonance 2 Her hardest hue to hold / u: / 3 Her early leaf’s a flower / ɜ / 4 But only so an hour / əʊ / 5 Then leaf subsides to leaf / i: / 6 So Eden sank to grief / i: / 7 So dawn goes down to day / əʊ /

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From the table above, the assonance that found are the vowel / i: /, / əʊ /, / u: /, and / ɜ /. The front mid lax vowel / ɜ / is repeated in lines 3 with the words

“her” and “early”. Also, line 2 repeats the high back rounded tense vowel / u: / in words “hue” and “to”. This poem also uses the repetition of front high tense high front tense vowel / i: / with the words “leaf” and “leaf” which occur in line 5. This vowel also repeated in line 6 by the words “Eden” and “grief”. Moreover, it can be stated that this assonance supports the remembrance of the title which can be seen in line 4 with the words “only” and “so”, and also in line 7 with the words

“goes” and “down” that repeats the diphthong / əʊ /.

It can be seen that two of the assonance in this poem are appeared mostly.

The high front tense vowel / i: / and the diphthong / əu /. The front mid lax vowel

/ ɜ / is repeated lines 2 and 3 in the words “her”, “hardest”, and “a”. The diphthong / əʊ / is repeated in lines 4 and 7 in the words “only”, “so”, “goes”, and

“down”. The high front tense vowel / i: / is repeated in sequence in lines 5 and 6 with the words “leaf”, “Eden”, and “grief”. The repetition of vowel sound almost repeated in every line except line 1 and line 8.

Second, the segmental sound features found in this poem is the alliteration.

Arp and Johnson (2009) stated that alliteration is “the repetition of initial consonant sounds” (p.820). The alliteration also suggests the style of Robert Frost in making poem. Moreover, the repeatition of initial sounds will be provided in

Table 7.

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Table 7. Alliteration Found in “Nothing Gold Can Stay”

Line Alliteration

1 Nature’s first green is gold / g / 2 Her hardest hue to hold / h / 5 Then leaf subsides to leaf / l / 6 So Eden sank to grief / s / 7 So dawn goes down to day / d /

The alliteration of the poem can be found in lines 1, 2, 5, 6, and 7. The velar voiced consonant / g / sound is repeated in line 1. The velar voiced consonant / g / sound is repeated with the words “green” and “gold”. In line 2, the glottal voiceless consonant / h / sound is repeated in the initial sound of words with the words “her”, “hardest”, “hue” and “hold”. Next, the repetition of the alveolar voiced consonant / l / sound in the words “leaf” and “leaf” occurs in line

5. Then, line 6 repeats the initial alveolar voiceless consonant / s / sound in the words “so” and “sank”. Last, the words in line 7 “dawn” and “down” repeat the alveolar voiced consonant / d / sound.

It can be seen that every lines of the poem has different alliteration. The first line repeats the velar voiced consonant / g / in the words “green” and “gold”.

The glottal voiceless consonant / h / is repeated in the words “her”, “hardest”,

“hue”, and “hold” in the next line. Then, the alveolar voiced consonant / l / is repeated in line 5 with the words “leaf” and “leaf”. The alveolar voiceless consonant / s / is repeated in line 6 with the words “so” and “sank”. Last, the alveolar voiced consonant / d / is repeated in line 7 with the words “dawn” and

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“down”. The repetitions of initial consonant sound in this poem are found in 5 lines.

Last, Frost also applies the consonance in “Nothing Gold Can Stay” poem.

Arp and Johnson states that consonance is the repetition of final consonant sound

(p.820). Consequently, the consonance sound will be provided in Table 8.

Table 8. Consonance Found in “Nothing Gold Can Stay”

Line Consonance 1 Nature’s first green is gold / z / 5 Then leaf subsides to leaf / f / 7 So dawn goes down to day / n /

From the table above, the consonance sound that found in this poem are / z

/, / n /, and / f /. First, the alveolar voiced consonant / z / is repeated in line 1 in the words “nature’s” and “is”. Next, the repetition of the labio-dental voiceless consonant / f / appears in line 5 of the poem. The words “leaf” and “leaf” repeats that consonant sound. The alveolar voiced consonant sound / n / is repeated in line

7 in the words “dawn” and “down”.

It can be seen that the consonance found in “Nothing Gold Can Stay” poem is just found in three lines. Line 1 is repeated the alveolar voiced consonant

/ z / in the words “nature’s” and “is”. Line 5 is repeated the labio-dental voiceless consonant / f / in the words “leaf”. Last, the alveolar voiced consonant / n / is repeated in line 7. The repetition of final consonant sound found just in three lines of this poem. There is not any consonance found in lines 2, 3, 4, 6, and 8.

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Therefore, by this analysis, it is clear that the poet uses all sound devices which is assonance, consonance, and alliteration in his poem entitled “Nothing

Gold Can Stay”. The poet uses assonance more frequently in each line of this poem. These all sound devices show that the poet cares about the use of some repetition of sound in his poem.

b. Supra-Segmental Sound Features

Robert Frost has also used some supra-segmental sound features in his

“Nothing Gold Can Stay” poem. It consists of rhyme which includes the patterns and the forms of the poem and meter which includes the metrical feet of the poem.

As similar with the first poem, both rhyme and meter in this poem also help the writer to find out the Robert Frost’s style in making poem. In this analysis, the writer focuses on the patterns, the forms, and the orderliness employed by the poet. Therefore, those will be presented in the following discussion.

i. Rhyme

The analysis of the rhyme includes the patterns of the poem and the forms of the poem. Both the patterns and the forms help to find the style of Robert Frost.

Rhyme is one of the supra-segmental features in poetry. Frost emphasizes the use of repetition in rhymes to attract the listeners’ and the readers’ attention. An interesting use of rhymes is obvious in Robert Frost’s “Nothing Gold Can Stay”.

The poem consists of one stanza, and it contains 8 lines. Frost uses the heroic couplet rhyme form in this poem, which means that the form patterned AA,

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BB, CC. Moreover, the lines rhymed can be seen from the table below. The use of numbering here is aimed to show the line of the poem.

Table 9. Rhyme Found in “Nothing Gold Can Stay”

Line Rhyme 1 Nature’s first green is gold /əʊld/ 2 Her hardest hue to hold /əʊld/ 3 Her early leaf’s a flower /aʊə/ 4 But only so an hour /aʊə/ 5 Then leaf subsides to leaf /iːf/ 6 So Eden sank to grief /iːf/ 7 So dawn goes down to day /eɪ/ 8 Nothing gold can stay /eɪ/

From the rhymed words above, the rhyme patterns can be drawn, the flow of the patterns is changing but patterned in sequence. The rhyme of the poem is changed every two lines of the poem. The end rhyme pattern of each line of the poem is categorized into A, B, C, and D. At this poem, A is intended for end rhyme /əʊld/, B is intended for end rhyme /aʊə/, C is intended for end rhyme /i:f/, and D is inteneded for end rhyme /eɪ/. At first the first two lines of the poem is patterned in couplet with /əʊld/ end rhyme which is patterned AA. Then, the next two lines, lines 3 and 4, also pattern in couplet with /aʊə/ end rhyme which is patterned BB. Next, lines 5 and 6 have /iːf/ end rhyme which is patterned CC also includes in couplet type of rhyme. Last, couplet form also found in last two lines of the poem. Lines 7 and 8 rhymed /eɪ/ which is patterned DD.

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Moreover, from the rhymed words provided before, Frost employs four rhyming sounds: /əʊld/ , /aʊə/ , /iːf/ , and /eɪ/. The first and third rhymes are in the form of Nucleus and Coda, different from the second and fourth rhymes, which is just a Nucleus. The sound /əʊld/ is repeated in line 1 and 2, shown by the words “hold” and “gold”. Both words have masculine rhyme because both are monosyllabic words. The next sound, /aʊə/ is repeated in lines 3 and 4, by the words “flower” and “hour”. The two words in line 3 and 4 have masculine rhyme.

Lines 5 and 6 are represented by the rhyme /iːf/ shown in the words “leaf” and

“grief”. The end rhyme of those words is stressed, so they are called masculine rhyme. The last rhyme, /eɪ/ is repeated in lines 7 and 8 by the words “day” and

“stay”, which are monosyllabic. Those two lines also have masculine rhyme. The poem use couplet types which is the end rhyme is AABBCCDD.

ii. Meter

Besides rhyme, meter is also included in the analysis of supra-segmental sound features. Gill (1995) defines that meter is “the regular rhythms of poetic lines, created by a sequence of stressed or unstressed syllables” (p.387). The analysis of meter includes the metrical feet of the poem and the number of feet of the poem. Meter refers to the pattern aof stressed and unstressed syllables in a line. In observing meter, the existence of foot in a line becomes prominent to decide the type of meter. The number of feet refers to the number of the group of syllables which make up one metrical unit.

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The stressed syllables is represented in ( / ) and the unstressed syllables is represented in ( X ). Moreover, the meter of the poem will be provided in table 5.

The use of numbering here is aimed to show the line of the poem.

Table 10. Metrical Pattern Found in “Nothing Gold Can Stay”

Line Meter

From the meter above, it can be seen that the poem employs mix type of meter. “Nothing Gold Can Stay” poem is predominantly iambic trimeter type in rhythm, except the open and end lines which contain unmetrical feet. The dominant type of meter, iambic trimeter, is found in lines 2 until 7. Iambic trimeter is a metrical pattern consisting of three feet and each foot patterned unstressed and stressed syllable. While lines 1 and 8 have different type of meter.

Line 1 has three feet and the combination of trochaic and iambic. The unmetrical

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form can be found in line 8. Trochaic meter is a metrical foot which consist of stressed and unstressed syllable.

Lines 2 until 7 have an iambic trimeter type of meter. Iambic trimeter can be seen from the number of feet and the type of foot form in each foot. Two of the examples are iambic trimeter found in lines 2 and 7.

Line Meter

2 Her hard | est hue | to hold X / X / X / 7 So dawn | goes down | to day X / X / X /

It can be seen from its type of foot which shows the iambic foot. The iambic foot is the foot which the unstressed syllable followed by the stressed syllable behind. In line 2, the words “her”, syllable “dest” from the word

“hardest”, and “to” are the unstressed syllables in that line. They are followed by the stressed syllables words, which are syllable “har” from the word “hardest”,

“hue”, and “hold”. The unstressed and stressed syllables form is called iambic.

Although the trimeter which found in line 2 occurs because of it has three unstressed and stressed syllables form. Therefore, it has three feet, which is called trimeter.

The second example is iambic trimeter in line 7. The type of foot form shows the iambic foot, which means that it has a metrical foot patterned unstresssed syllable followed by stressed syllable. In this line, the words “so”,

“goes”, and “to” are the unstressed syllable in that line. They are followed by the words “dawn”, “down”, and “day”, which are stressed syllable. Similar to line 2

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in this poem, this line also has iambic trimeter, which means there are three unstressed and stressed syllables form.

Meanwhile, line 1 has an unmetrical feet pattern. Line 1 has a mix type of meter. Line 1 also has trimeter type. It can be seen from the number of the type of foot occurs in each foot. It has three feet, which is called trimeter. On the other hand, the type of foot in this line has variation. The first foot has trochaic foot, which is stressed syllable followed by unstressed syllables form. The stressed syllable can be see from the syllable “na” in the word “nature’s” and the unstressed syllable can be seen from the syllable “ture’s” in the word “nature’s”.

The second and third foot have iambic form, which is unstressed syllable followed by stressed syllables form. The unstressed syllables can be seen from the word

“is” and the word “first”. The stressed syllable can be seen from the word “green” and the word “gold”.

Line Meter

1 Nature’s | first green | is gold / X X / X /

Then, the unmetrical form can be seen in line 8. The unmetrical foot occurs in the first foot of the line. This foot consists of three syllables, which are stressed , unstressed, and followed by stressed syllable. The stressed syllables can be seen from the syllable “no” from the word “nothing” and the word “gold”.

While, the unstressed syllable can be seen from the syllable “thing” from the word

“nothing”. The iambic foot and the unmetrical foot is seen from its type of foot form which shows the iambic foot. The iambic foot is the foot which is formed by

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the unstressed syllable followed by the stressed syllable. The unstressed syllable can be seen from the word “can” and the stressed syllable can be seen from the word “stay”.

Line Meter

8 Nothing gold | can stay / X / X /

Although the dimeter type can be seen from the two feet which found in line 8, this line still has unmetrical form. The unmetrical form occurs because of the first foot of the line just has unmetrical form with the stressed, unstressed, and stressed syllables. Thus, this line cannot be formed any metrical feet.

B. Phonological Features’s Contribution to Robert Frost’s Style

Based on phonological features that are found in Robert Frost’s poems,

which is entitled “Fire and Ice” and “Nothing Gold Can Stay”, the style of Robert

Frost in making a poem can be found. This research finds that Robert Frost has

rhythmical style in making his poems. It can be seen from the rhyme, meter,

alliteration, assonance, and consonance that had been analyzed above. There are

some features that support the rhytmical style of Robert Frost on making his

poem.

The first is regularity of the rhyme. The analysis of rhyme above shows

that Robert Frost uses a different rhyme pattern in “Fire and Ice” and “Nothing

Gold Can Stay” poems. First, “Fire and Ice” poem has ABAABCBCB end rhyme

and “Nothing Gold Can Stay” poem has AABBCCDD end rhyme. It shows that

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Robert Frost does not always use the same rhyme end pattern in each of his poems. Although the two poems have a different end rhyme pattern, but the two poems still have a patterned rhyme that is good for the readers. The end rhyme pattern in “Nothing Gold Can Stay” poem and “Fire and Ice” reveals that Frost is in an attempt to attract the audience or the reader to enjoy the rhyme of his poem.

“Fire and Ice” and “Nothing Gold Can Stay” poems also have different types of verse. Frost did not apply traditional verse in “Fire and Ice”, he applied his own verse. While “Nothing Gold Can Stay” has couplet verse rhyme. Couplet verse is a verse that has any meter with lines rhyming in pairs, such as AA, BB,

CC, DD (Boulton, 1982, p.144). Although both of the poems have different type of verse, it still shows that both of them have rhymes which arranged and patterned. It also shows that Robert Frost used traditional verse rhyme in making his poems.

Second is the domination of masculine rhyme. The uniqueness of Robert

Frost or the style possessed by Robert Frost in making a poem is also found in the type of rhyme he uses. In making his poems, Robert Frost often uses masculine rhyme. From what the writer has analyzed above, Robert Frost uses the masculine rhyme in “Fire and Ice” and “Nothing Gold Can Stay” poems. He uses a masculine rhyme in every line of the poem he makes. He uses a masculine rhyme to make every line in the poem have a meaningful clarity. Rhymes that occur on the stressed syllables are masculine. It is not only monosyllabic rhymes, but also the rhyming words of two or more syllables are masculine if the final syllable is stressed. Frost tries to make his poem strong because masculine rhyme has a

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stressed final syllable. This stressed word has a purpose to make the reader on through the poem. Besides that, this rhyming tends to produce a pronounced or emphatic effect. Frost applies single syllable rhyming to make a pointed and telling impact to the reader or listener.

Third is the regularity in using the meter. The style of Robert Frost in making his poems also can be seen from the meter that he used. He is a unique poet. He always adheres to not only rhyme but also the meter of the poem. From the analysis above, it can be seen that Robert Frost often uses the iambic meter for his poems. He writes both of his poems, entitled “Fire and Ice” and “Nothing

Gold Can Stay”, in iambic meter. Frost just uses the combination meter to start the poem in “Nothing Gold Can Stay”.

Although Robert Frost has consistency with iambic meter in making his poems, he also keeps thinking of the diversity in his poetry. As he applied in his two poems entitled "Fire and Ice" and "Nothing Gold Can Stay", Frost remains consistent with using iambic meter as the dominant foot but so as not to be monotonous, he makes the number of meters in each line fickle. In the poem "Fire and Ice", Frost always uses iambic foot from the first line to the last line, but he applies two different kinds of meters in his poem. He uses iambic tetrameter and iambic dimeter to make the poem more memorable and more pleasant.

Meanwhile, in his poem entitled "Nothing Gold Can Stay", Frost employs the dominance of iambic trimeter. However, there is a little difference in the poem made by Robert Frost. Frost changes the foot type at the beginning and end of the poem. At the beginning of the poem, Frost used an unmetrical foot to start the

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poem and end the poem by repeating the title of the poem. The use of meter at this poem indicates that Frost is a poet that adheres to the meter. He always makes his well-designed poems. It means that he wants the poems he keeps to be patterned and also shows the readers aware of the rhythmic sound effect and how poetry should be read by them. Rhythmic sound is actual and real. In poetry, the actuality is language arranged in sentences, with varying emotions, dramatic contrasts of meaning and tone, the revelation of the speaker’s situation (Arp&Johnson, 2009, p.838). All these are expressed through the sounds of language, which creates meanings and implications.

From the discussion above, Robert Frost's style in making poetry in terms of meters is found. Frost always uses the meter in making his poems to make the poem more memorable and more pleasant. Frost often uses iambic foot in making his poems. The meter makes Frost’s poems is not monotonous. He is also a well- designed poet, this is proven from the analysis of the two poems above.

Fourth is the use of repetition of sounds in his poems. In addition to rhymes and meters, Robert Frost also uses repetition of sounds in making his poems. This is proven from the two poems from Robert Frost that have been analyzed entitled "Fire and Ice" and "Nothing Gold Can Stay". Robert Frost used several repetitions of sound in both poems.

First, his poem entitled "Fire and Ice" employs several repetitions of sound. Frost applies assonance which is a repetition of vowels contained in poetry, consonance which is a repetition of the final consonant sound, and alliteration which is a repetition of the initial consonant sound. In this poem, Frost

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applies more to the repetition of vowels on each line because the title of the poem is dominated by vowel sounds. This poem had nine repetition of the vowel sound.

The mostly vowel that appeared in this poem are the front high lax vowel / ɪ / and the diphthong / aɪ /. Then, Frost also applied some repetition of the initial consonant sound or alliteration. He used five repetition of initial consonant sound and the most appeared sound is the alveolar voiceless consonant / s /. He also uses a little repetition of the final consonant sound.

Next, his poem entitled "Nothing Gold Can Stay" also uses some repetition of sounds. Similar to the "Fire and Ice" poem, Frost also uses assonance, consonance, and alliteration in this poem. The difference in this poem with the poem "Fire and Ice" is that Frost uses sound repetition of assonance, consonance, and alliteration evenly.

In the use of repetition, Frost also would like to show the implication of the words that has some repetition of sound. One of the example is the repetition of diphthong / aɪ / in “Fire and Ice”, the diphthong / aɪ / is the dominating assonance in the poem. It is mostly repeated in the word “I”. The word is adressed to the author. It shows the way Frost tells about his experience encounters people who feel the effects of war. It is not only the word “I” that mostly repeated by the repetition of sound in “Fire and Ice” poem, but also the word “fire” that is repeated by the diphthong / aɪ /, the vowel / ə /, and the consonant / f /. This word is adressed to “desire” or the emotions like “love”. The other example is the word

“leaf” in “Nothing Gold Can Stay” poem. The word “leaf” has some repetition of sound. The vowel / i: /, the consonant / l /, and the consonant / f / are repeated

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with the other word in one line of the poem. The word is adressed to leaf in the

spring. It shows the way Frost tells the relation between the leaf and the human

condition in the poem. It can be said that Frost also tries to emphasis the

significance of the word by adding some repetition of sound in that word.

Last is the emphasis of the title of his poems. Robert Frost often emphasizes the reader to remember the title by repeating the title of the poem.

Robert Frost repeats the title of the poem in several ways. As in his poem entitled

“Fire and Ice”, he repeats the title of the poem with the end rhyme sound. “Fire and Ice” poem repeats the end rhyme sound /aɪə/ and /aɪs/, which is repeated the end sound of the word “fire” and “ice” in the title. Meanwhile, in “Nothing Gold

Can Stay” poem, Robert Frost emphasizes the title to the reader by repeating the title in the last line of the poem.

The repetition of this sound indicates that Frost is a poet who is very

concerned about the beauty of his poetry. Frost makes his poems have a musical

sound with this sound repetition. In addition, Frost not only gives emphasis to the

title of poetry through rhyme alone, but he also tries to be consistent in the

emphasis of his poetry title through repetition of sound. As in the "Fire and Ice"

and "Nothing Gold Can Stay" poems above, the repetition of sound in both poems

emphasizes the titles of each poem. In the poem "Fire and Ice", the diphthong/ aɪ /

mostly appears in that poem which is in line with the diphthong of the title of the

poem “Fire and Ice”. Meanwhile, in “Nothing Gold Can Stay” poem, Frost also

often repeats the diphthong / əʊ / which is the same as the diphthong of the title of

the poem. This shows Frost's consistency in emphasizing the title of his poem that

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has the same vowel as the dominating vowel in the poem. Frost wants to remind his listeners about vowel used in the title.

From the analyses above, it can be seen that Frost often uses traditional verse in making his poems. In the case of rhyme, he often uses masculine rhyme to strengthen his poem so that the reader drowns into the poem. Then, as a poet,

Frost is a poet who really adheres to the meter. He is a very strong poet in the use of meters in his poem. It stresses the previous finding that he wants his poems to look neat when read or heard. Frost is also a poet who is not monotonous or uses the same patterned in every poem he makes. In addition, Frost also pays attention to the repetition of sound in his poem. According to the results of the analysis above, Frost often applies the repetition of vowel or assonance and the repetition of initial consonant sound or called alliteration.

Thus, as what has been discussed above, in making his poem, Frost has its own style when viewed from the use of sound that he applied to his poetry. The writer finds five style of Robert Frost in making a poem. First, Frost has a regularity of rhymes in making his poems. Second, Frost applies the masculine rhyme in all lines of his poems. Third, Frost has regularity on the meter. Fourth,

He pays attention to the use of repetition. Last, Frost emphasize the title of the poems through the rhyme and the repetition of his poems. From Frost’s style that found by the writer above, it can be seen that Frost tries to make his poetry beautiful through rhymes, meters, and repetition. He is also a poet that enjoys the reader and the listener with patterned end rhyme, well designed meter, and the choice of repetition. In addition, Frost is also a poet who pays attention to the

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sound choice. Then, Frost also re-emphasizes the title of his poetry through the rhyme and repetition of the sound he uses in his poem. Therefore, it can be concluded that Frost is a poet who is very attentive to the beauty of his poems and makes his poems have a meaningful music sound.

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CHAPTER V

CONCLUSION

This research is aimed to answer two problems of the study. The first problem is to find out the phonological features found in Robert Frost’s “Fire and

Ice” and “Nothing Gold Can Stay” poems. The features that are analyzed are taken from every line of his poems. The second problem is to find out the style of

Robert Frost in making his poems by seeing the phonological features that have been found.

In the first problem, there are two phonological features that are analyzed.

There are segmental and supra-segmental sound features. Segmental sound features include assonance, alliteration, and consonance. On the other hand, supra-segmental sound features includes rhyme and meter. The research shows all of that features found in the two poems.

There are two poems that the writer analyzes, which entitled “Fire and Ice” and “Nothing Gold Can Stay”. From those two poems, the writer finds out the type of rhyme, the end rhyme pattern, the meter, and the repetition of sound which the poet used.

Firstly, in “Fire and Ice” poem, the writer finds that the poem has regular pattern in terms of its phonological features. Frost applies his own pattern end rhyme in this poem, he uses unusual pattern and it is not included in any traditional verse but it still patterned and metrical. This poem has ABAABCBCB end rhyme pattern. There are three rhyme sounds that found in this poem. First,

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the rhyme sound / aɪə / is repeated in lines 1, 3, and 4 which is in form of Nucleus only. Second, the rhyme sound / aɪs / is repeated in lines 2, 5, 7, and 9 which is in form of Nucleus and Coda. Last, the rhyme sound / eɪt / is repeated in lines 6 and

8 which is also in the form of Nucleus and Coda. The poet mostly applies diphthong as the nucleus and sometimes combined with the consonant sound as a coda. Besides that, “Fire and Ice” poem has a masculine rhyme in each line.

Masculine rhyme, also known as single rhyme, is a rhyme in which the repeated accented vowel sound is in the final syllable of the words involved. In term of meter, this poem is written in iambic tetrameter and iambic dimeter. Then, the repetition of sound, such as assonance, alliteration, and consonance, is also found in this poem. The front high lax vowel / ɪ / and the diphthong / aɪ / dominate the repetition of vowel sound. The alveolar voiceless consonant / s / is mostly repeated in the beginning of the words, while the alveolar voiceless consonant / t / is the only sound that repeated in the end of the words.

Secondly, the writer also finds that “Nothing Gold Can Stay” poem also has regular pattern in terms of its phonological features. The poem has couplet verse as it has AA, BB, CC pattern. This poem has AABBCCDD end rhyme pattern. In this poem, four rhyme sounds are found. First, the rhyme sound / əʊld / is repeated in lines 1 and 2 which is in the form of Nucleus and Coda. Second, the rhyme sound which is in the form of Nucleus / aʊə / is repeated in lines 3 and 4.

Third, in lines 5 and 6, the rhyme sound / i:f / is repeated. The rhyme is in form of

Nucleus and Coda. Last, the rhyme sound / eɪ / is repeated in lines 7 and 8 which is only in the form of Nucleus. Then, “Nothing Gold Can Stay” poem also has a

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masculine rhyme in each line. Similar to “Fire and Ice”, this poem was written in iambic trimeter of lines 2 until 7 whereas the first and the last lines of the poem have unmetrical feet pattern. After that, all of repetition of sound, which is assonance, alliteration, and consonance, is also found in this poem. The repetition of vowel sound is dominated by the diphthong / əʊ / and the front high tense vowel / i: /. This poem has five repetition of initial consonant sound and each repetition has a different consonant, which is / g /, / h /, / l /, / s /, and / d /.

Similar to the repetition of initial consonant sound above, there are three repetitions of final consonant sound in this poem and each repetition also has a different consonant.

In the second problem, the writer finds the poet style in making poems through phonological features that have been analyzed. Based on the discussion, the writer finds out some style of Robert Frost in making his poems. The writer finds that Frost tries to make his poetry beautiful through rhymes, meter, and repetition of sound. The writer finds that Robert Frost has a rhythmical style in making his poems. There are five features which support the rhythmical style of

Robert Frost in making his poems through the phonological features that he used.

The five features of Robert Frost are the regularity of the rhyme, the dominance of masculine rhyme, the regularity of meter, the use of repetition, and the emphasis on the title of the poem.

First, the regularity of the rhyme can be seen from the end rhyme that

Frost used in his poems, esspecially “Fire and Ice” and “Nothing Gold Can Stay”.

Other than that, the use of traditional verse also shows that he pays attention to the

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regularity of rhyme. Second, the use of masculine rhyme in his poems shows that

Frost has a domination of masculine rhyme in making his poems. Frost applies masculine rhyme in all of the line of his poems, for example “Fire and Ice” and

“Nothing Gold Can Stay” poems. He would like to strengthen his poems by this masculine rhyme. Third, the regularity of meter can be seen from the use of meter in his poems. Frost is a poet who really adheres to the meter. He uses the metrical pattern in making all of his poems. Forth, Frost also uses the repetition of sound in making poems. It can be seen from the analysis about the repetition of sound above. He uses all of the repetition of sound, such as assonance, consonance and alliteration. Last, Frost also employs the emphasis on the title of the poem. He re- emphasizes the title of the his poem through the rhyme and repetition of sound that he uses in his poem. Therefore, it can be concluded that Frost is a poet who is very attentive to the beauty of his poems and makes his poems have a meaningful music sound which is proven from the selection of sound by Frost that he really noticed.

As the final point, this research finds Robert Frost style in making his poems through phonological features that found in his poems. Frost is a poet who makes comfortable the readers and the listeners of his poem with patterned end rhyme, well designed meter, and the choice of repetition. This research also proves that stylistic approach can be used to analyze literary text, one of which is poetry. Stylistics approach with some level of analysis, such as graphological, phonological, lexical, and grammatical, can be applied to analyze literary text. In

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addition, this writing shows that the analysis of phonological features through stylistic can finds out the style of a poet in his literary work.

To improve stylistic analyses, the writer suggests the other researchers to conduct similar analysis in different object. This research can be done in different literary text such as other poems or other literary works. Moreover, the writer also suggests other researchers to conduct a research by using different analysis, graphological, lexical, or grammatical analysis of stylistic. By employing graphological, lexical, or grammatical analysis of stylistic, the style can be found not only from the sound of the poem, but also from the structure, the typography, or the choice of words aspect. As a result, the deeper result of the style of the poet will be achieved.

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APPENDICES

Appendix 1: “Fire and Ice” Poem

Lathem, Edward Connery. (Ed.). (1969). The Poetry of Robert Frost. New York: Holt, Rinehart and Winston.

Fire and Ice

Some say the world will end in fire Some say in ice From what I’ve tasted of desire I hold with those who favor fire But if it had to perish twice I think I know enough of hate To know that for destruction Is also great And would suffice

By Robert Frost

(Lathem, 1969, p.220)

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Appendix 2: “Nothing Gold Can Stay” Poem

Lathem, Edward Connery. (Ed.). (1969). The Poetry of Robert Frost. New York: Holt, Rinehart and Winston.

Nothing Gold Can Stay

Nature’s first green is gold Her hardest hue to hold Her early leaf’s a flower But only so an hour Then leaf subsides to leaf So Eden sank to grief So dawn goes down to day Nothing gold can stay

By Robert Frost (Lathem, 1969, p.222)