A Description of Metaphors Used in Robert Frost's Selected Poems

A DESCRIPTION OF METAPHORS USED IN ROBERT

FROST’S SELECTED POEMS

A PAPER

FARADIBA NST

REG. NO.152202067

DIPLOMA – III ENGLISH STUDY PROGRAM

FACULTY OF CULTURE STUDY

UNIVERSITY OF SUMATERA UTARA

MEDAN

2018

UNIVERSITAS SUMATERA UTARA

Approved by

Supervisor,

Drs. Siamir Marulafau, M.Hum.

NIP 19580517198503 1 003

Submitted to Faculty of Cultural Studies, University of Sumatera Utara

In partial fulfillment of the requirements for Diploma-III in English Study

Approved by

Head of English Study Program,

Dra. Swesana Mardia Lubis, M.Hum.

NIP 195710021986012003

Approved by the Diploma-III of English Study Program

Faculty of Cultural Studies, University of Sumatera Utara

As a paper for the Diploma-III Examination

UNIVERSITAS SUMATERA UTARA

Accept by the Board of Examiner in partial fulfillment of the requirements for the D-III Examination of the Diploma-III of English Study Program,

Faculty of Culture Study, University of Sumatera Utara.

The examination is held on 29 November 2018

Faculty of Cultural Study, University of Sumatera Utara

Dean

Dr. Budi Agustono, M.S.

NIP 19600805198703

Beard of Examiners: Signature

1. Dra. Swesana Mardia Lubis, M.Hum. ______

2. Drs. Siamir Marulafau, M.Hum. ______

3. Riko Andika Rahmat Pohan, S.S., M.Hum. ______

UNIVERSITAS SUMATERA UTARA

AUTHOR’S DECLARATION

I, FARADIBA NST DECLARE THAT I AM THE SOLE AUTHOR OF THIS

PAPER EXPECT WHERE REFERENCE IS MADE IN TEXT OF THIS

STUDY. THIS STUDY CONTSINS NO MATERIAL PUBLISHED

ELSEWHERE OR EXTRACTED IN WHOLE IN PART FROM A STUDY BY

WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE. NO

OTHER PERSON WORK HAS BEEN USED WITHOUT DUE

ACKNOWLADGEMENT IN THE MAIN TEXT OF THIS PAPER. THIS

PAPER HAS NOT BEEN SUBMITTED FOR THE AWARD OR ANOTHER

DEGREE IN ANY TERTIARY EDUCATION

UNIVERSITAS SUMATERA UTARA

Name : FARADIBA NST

Title of Paper : A DESCRIPTION OF METAPHORS USED

IN ROBERT FROST’S SELECTED POEMS

Qualification : D-III / Ahli Madya

Study Program : English

I am willing that my paper should be available for reproduction at the discretion of the Libertarian of the Diploma III English Study Program Faculty of Cultural studies, USU on the understanding that users are made aware of their obligation under law of the Republic of Indonesia.

Signed :

Date :

UNIVERSITAS SUMATERA UTARA

ABSTRACT

This paper study the metaphors use in Robert Frost‘s selected poem. The writer uses Lakoff and Jhonson‘s theory, this study focus on metaphors in poems. This paper identifies the meaning of the metaphors used in The Road Not Taken, Nothing Gold Can Stay and The Times Table selected Robert Frost‘s poem. This study also identifies the types of metaphors used in Robert Frost‘s selected poem. The method of this study is qualitative method. The final result of this study is metaphors in Robert Frost‘s poems consist into three types there are structural metaphor, orientational metaphor and ontological metaphor.

Keywords: metaphors, types of metaphors, , meaning of the metaphors, poem and poetry

iii

UNIVERSITAS SUMATERA UTARA

ABSTRAK

Penelitian ini mempelajari tentang penggunaan kiasan yang digunakan dalam puisi pilihan Robert Frost. Penulis Menggunakan teori Lakoff dan Jhonson. Penelitian ini berfokus pada penggunaan kiasan dalam puisi. Penelitian ini mengidentifikasi makna dari penggunaan kiasan yang digunakan dalam The Road Not Taken, Nothing Gold Can Stay dan The Times Table puisi pilihan Robert Frost. Penelitian ini juga mengidentifikasi jenis-jenis kiasan dalam puisi Robert Frost yang dipilih. Metode yang digunakan dalam penelitian ini adalah metode kualitatif. Hasil akhir dari penelitian ini adalah adalah metafora dalam puisi Robert Frost terdiri dari tiga tipe yaitu metafora struktural, metafora orientasi dan metafora ontologis.

Kata kunci : penggunaan kiasan, jenis-jenis metafora, fungsi metafora, arti dari metafora dam puisi

UNIVERSITAS SUMATERA UTARA

ACKNOWLEDGEMENTS

First of all, I would like to give thanks to almighty and praise to Allah SWT, the lord of the word who giving me health, opportunity, blessing and love. Secondly, don‘t forget the prayer and greeting to Prophet Muhammad SAW who giving me the opportunity, strength, patients, and ability to accomplish this paper. However, this success would not be achieved without support from individual, people and institution. For all guidance, the researcher would like thanks to:

 Dr. Drs. Budi Agustono, M.S. as the Dean of Faculty Cultural Studies,

University of Sumatera Utara.

 Dra. Swesana Mardia Lubis, M.Hum as the head of English Diploma

Study Program, who give me chance to prove my qualified for finishing this

paper, for teaching precious knowledge and wonderful experience during the

study, and also the stuffs for the facilities and opportunities have given to me

during my study in this University.

 Foremost, I would express my deep gratitude to my supervisor Drs. Siamir

Marulafau, M.Hum for supervision, precious time, guidance, support, advice, correction and patience during writing this paper, he has gives me feedback on both suggestion and useful critiques on my paper.

 Special appreciation and thanks to my beloved parents, Aminah S.Pd and

Darwin Nasution, for endless love who never stop praying and supporting me, comfort, care, attention, encouragement, loyalty, and financial support to remind

UNIVERSITAS SUMATERA UTARA

me to keep going and never give up. They are the biggest inspiration and motivation for me.

 My beloved aunties and uncle, Sinta Maulina, Irma Hayati, Adila and

Usman Helmi, who never stop supporting me, for their love.

 Very greatful to have some close friends, who always support me. The first appreciate goes to Darja Rizkiana, you are always good listener for every problem I faced. I also want to express my appreciation to my beautiful friends

Yulia Aldina Sagala, Wahyuni Wahida and Rizkya Khairani who always help me and encourage me in every situations to finish this paper.

 Also Solidas 15A thank you for the moments in the last three years and for the others that I can‘t mention, thanks for your existence and being my friend, I really appreciate every single time we spend together.

Finally, I would like to thanks to everybody who was important to successful realization of this paper, I will accept the suggestion and critics that build me up from the readers because I know this paper is not perfect, but it is expected that it will be useful not only for writer, but also for the readerand. That‘s why your critics might make this paper better. Thanks to all readers who read this paper.

UNIVERSITAS SUMATERA UTARA

TABLE OF CONTENTS

AUTHOR’S DECLARATION ...... i

ABSTRAK ...... iii

ABSTRACT ...... iv

ACKNOWLEDGEMENTS ...... v

TABLE OF CONTENTS ...... vii

1. INTRODUCTION

1.1 The Background of the Study ...... 1

1.2 The Problem of the Study ...... 5

1.3 The Purpose of the Study ...... 5

1.4 The Scope of the Study ...... 5

1.5 The Method of the Study ...... 6

1.6 The Significance of the Study ...... 6

2. REVIEW OF RELATED LITERATURE

2.1 Definition of Metaphor ...... 7

2.2 Types of Metaphor ...... 8

2.3 Poems ...... 9

vii

UNIVERSITAS SUMATERA UTARA

3. FINDING AND DESCRIPTION

3.1 Discussion The Road Not Taken ...... 12

3.2 Discussion Nothing Gold Can stay ...... 14

3.3 Discussion The Times Table ...... 16

4. CONCLUSION AND SUGGESTION

4.1 Conclusion ...... 19

4.2 Suggestion ...... 20

BIBLIOGRAPHY ...... 21

APPENDICES ...... 23

viii

UNIVERSITAS SUMATERA UTARA

CHAPTER I

INTRODUCTION

1.1 Background of the Study

Language is an important tool in human‘s dialy-life to do an interaction, such as communication to others. As stated in Kamus Besar bahasa Indonesia (KBBI) about the meaning of language, is an arbitrary sound emblem used by members of community to collaboration, to interaction and self-identification. That is why language could not be separated for human life.

Talking about language certainly is not about something new for human life. Every human activity must understand and use a specific language, so it can be emphasized that language is a basic necessities of human life. Without language, someone will not mean anything in front of others. Without language, other will not understand who and how we are.

Figurative language is used in any from of communication, such as in daily conversation, article in newspaper, advertisements, novels, poems, film etc. the effectives of figurative language in four main reason. First, figurative language affords readers imaginative pleasure of literary work. Second, it is a way of bringing additional imagery into verse, making the abstract concrete, making the literary works more sensuous. The third, figurative is a way of adding emotional intensity to otherwise merely informative statements and conveying attitudes along with information. And the last, it is a way of saying much in brief compass.

UNIVERSITAS SUMATERA UTARA

There are several types of figurative language, one of them is metaphor.

Metaphors enable in communication and it is created to develop human‘s language to be more poetic and alive. Furthermore, by metaphor a person can express every word freely, especially in writing poetry. A metaphor is a comparison between two things that states one thing is another, in order help explain an idea or show hidden similarities.

According to Lakoff and Johnson (1980) metaphor consists of three types.

They are structural metaphor, orientation metaphor, and ontological metaphor.

Metaphor is principally a way of conceiving of one thing in terms of another, and its primary function is understanding, the metaphor is defined as an analogy (Lakoff

1987, Langacker 1987). A metaphor consists of the projection of one schema (the source domain of the metaphor) onto another schema (the target domain of the metaphor). What is projected is the cognitive topology of the source domain, that is the slots in the source domain as well as their relation with each other (Lakoff & Johnson 1980, Lakoff 1993).

Literature is a word that full of beauty. In literature works, can be found human emoticons, such as happiness, sadness, love worry and etc. Emotions represent the essential part of literary works and written in an artistic way. The writers of literature express their throught, feeling, emotion and attitude toward life ( Sinha, 1977:1)

There are several literary works, one of them is poetry. Poetry is the art of saying something that can hardly be said in any other way. Poetic language is not a substitute for some other language with which the poet could make things clearer were he less obstinate and aesthetic. Poetic language exists simply because no other language has been found to communicate our attitudes and feeling

UNIVERSITAS SUMATERA UTARA

toward certain kinds of experience. Good talk about poetry is nevertheless rare, and even the best of it will rest lightly on fallow ground until we ourselves have learned how to penetrate the inner life of a few poems. We can not be talked into enjoying the pleasures of poetry, but we can bring ourselves to such pleasures by learning to understand individual poems.

Poetry and poem describe a wide variety of spoken and written forms, styles, and patterns, and also a wide variety of subjects. Because of the variety, it is not possible to make a single, comprehensive definition (Roberts, 1955:547).

The poem is arranged in lines, but does not follow measured rhythmical patterns, nor does it rhyme. The most important thing about it is that, as it engages us and amuses us, it also rings of truth.

Robert Frost said,‖ Poetry is the kind of things poets writes‖ (1981: 44).

Poetry is what gets lost in translation (Robert Frost). To define poetry is not easy because not everything can be named or explained. So it is enough to sharpen your perception as a reader and to permit a fuller understanding of what it is in a poem that gives pleasure and creates form and meaning.

Robert Frost said,‖ Poetry is when an emotion has found its thought and the thought has found words‖. Emotions are fickle, sometimes they are clear and brilliant, we‘re happy, sad, frustrated or angry but we‘re also kind of annoyed about something. When emotions are textured and gritty, they are difficult to describe.

Robert Frost Said ,‖A poem begins as a lump in the throat, a sense of wrong, a homesickness, a lovesickness‖.

UNIVERSITAS SUMATERA UTARA

A poetry obviously has methaporical images, it includes methapor. Based on the Collin English Dictionary, a metaphor is an imaginative way of describing something by referring to something else which is the same in a particular way.

For example, if you want to say that someone is very shy and frightened of things, you might say that they are a mouse.

The writer use metaphors because metaphors can make the writing more interesting and to give readers a picture in their minds what is being discussed.

Beside that metaphors also help writers to understand a concept, metaphors allow writers to present or summarize a very complex idea that is developed throughout part or all of the text.

The poem that the writer would like to analyze is a literary work by Robert

Frost, because the writer thinks that Robert Frost poems are good and give her inspiration. Robert Frost is an American poet, teacher, and also a lecturer who wrote many famous poems. He got four times Pulitzer winning Prize.

Most of Robert Frost‘s poems describe about human life especially about village and nature and theme of his works content social and philosophical values.

In this paper, the writer tries to find the analyzes of the metaphors in The Road

Not Taken, Nothing Gold Can Say, and The Times Table that are found in Robert

Frost‘s poem.

UNIVERSITAS SUMATERA UTARA

1.2 Problem of the Study

According to the background explained above, the problems of the study are formulated as :

1. What are the meaning of metaphors use in The Road Not Taken, Nothing

Gold Can Say and The Times Table by Robert Frost‘s selected poems.

2. What types of metaphors use in three selected poems by Robert Frost.

1.3 Purpose of the Study

In writing this paper, the purpose of the study are :

1. To know the meaning of metaphors use in The Road Not Taken, Nothing

Gold Can Say, and The Times Table by Robert Frost‘s selected poems

2. To identify the types of metaphors use in three selected poems by Robert

Frost.

1.4 Scope of the Study

Robert frost has written many literary works especially in poetry. Most of his poetry takes human life and nature as its theme. To limited the study and analyze, the writer keeps focus on finding metaphor in selected poems, which are

The Road Not Taken, Nothing Gold Can Say and The Times Table. So that we can study and analyze by Robert Frost through his poems.

UNIVERSITAS SUMATERA UTARA

1.5 Method of the Study

The research method that is used in this paper is qualitative method by collecting some references such as textbook with many theories, information about the topic, and dictionary as basic lexical meaning also internet.

1.6 Significances of the Study

By analyzing the theory of conceptual metaphor in poems. The writer expects this study can be useful to the reader especially to writer herself and can enrich her knowledge about metaphor, futher understanding about conceptual metaphor from poems. The reader are able to understand about the topics especially about metaphor. The writer also expects this research can be contribution to what has been done by other people in the field of metaphor and gives information to the reader about metaphors.

UNIVERSITAS SUMATERA UTARA

CHAPTER II

REVIEW AND RELATED OF LITERATURE

2.1 Defenition of Metaphor

Metaphor is part of figurative language which is the most common and widely used in poem. It is an implicit comparison in which the intended idea is compared with another idea through a similarity or likeness of characteristics, qualities or attributes of the two ideas. The metaphor itself has a unique meaning.

The use of language is to refer to something other than what it was originally applied to, or what it ‗literally‘ means, in order to suggest some resemblance or to make a connection between two things (Knowles and Moon, 2006:3)

The first linguistic theories of metaphor were semantic theories. In semantics, meaning is divided into two parts, literal meaning and non-literal

2 meaning. There are a number ways in expressing ideas which deviate from the semantic conventions, some of which are through the use of idiom and figurative language. Metaphor is one part of figurative language which is the most common and widely used (Travernier: 2002).

Metaphor is a type of figurative language in which a statement is made that says one thing is something else, but literally it is not (University of North

Carolina, 2005; The Government of Prince Edward Island, 2000). Actually, it is a comparison that is made between two things essentially alike. Critics say Frost is a poet of metaphors. To him, metaphor is what poetry is all about (Frost Friends,

2004).

UNIVERSITAS SUMATERA UTARA

Metaphors are analogies which allow us to map one experience in the terminology of another experience and thus to acquire an understanding of complex topics or new situations (Vosniadou & Ortony 1989). The definition of the metaphor used here differs from our everyday understanding of the metaphor, which refers to it as a linguistic ornament with examples like 'Hercules is a lion'.

In the fields of cognitive linguistics, the metaphor is defined as an analogy

(Lakoff 1987, Langacker 1987): A metaphor consists of the projection of one schema (the source domain of the metaphor) into another schema (the target domain of the metaphor). What is projected is the cognitive topology of the source domain, that is the slots in the source domain as well as their relation with each other (Lakoff & Johnson 1980). Metaphors is pervasive in everyday life, not just in language but in thought and action (Lakoff and Jhonson, 1980). People ordinary conceptual system in term of which they thing and act, is fundamentally metaphorical in nature (Lakoff and Jhonson,1980)

2.2 The Types of Metaphor

According to Lakoff and Jhonson metaphor consist of three types:

Structural metaphor is a conventional metaphor in which one concept is understand and expressed in terms of another structured, sharply defined concept.

Orientational Metaphor is a metaphor in which concepts are spatially related to each other, as in the following ways: up or down, in or out, front or back, deep or shallow and central or peripheral.

UNIVERSITAS SUMATERA UTARA

Ontological Metaphor is a type of metaphor or figurative comparison in which something concrete is projected onto something abstract. Ontological metaphor a figure that provides ways of viewing events, activities, emotions, ideas, etc., as entities categories.

2.3 Definition of Poem

We shall talk about a good poem. Still one thing must be remembered, poetry and poem can never be fully explained. It can be felt just like what Emily

Dickinson said, and it can be talked about eith profit. Still, there is no use what ever in talking about it if you do not feel it, for poetry comes from heart and goes to heart.

Robert Frost Said,‖A poem begins as a lump in the throat, a sense of wrong, a homesickness, a lovesickness‖.

Robert Frost said,‖ Poetry is the kind of things poets writes‖ (1981: 44).

To define poetry is not easy because not everything can be named or explained.

So it is enough to sharpen your perception as a reader and to permit a fuller understanding of what it is in a poem that gives pleasure and creates form and meaning.

Robert Frost said,‖ Poetry is when an emotion has found its thought and the thought has found words‖.

According to Richard in Tarigan (2011:9) and Alexander (1997:1-24) there are four aspects of a poem. They are sense, feeling, tone and intention.

UNIVERSITAS SUMATERA UTARA

1) Sense is the subject matter of the poem. What is the poem about. Very

often but not always, the title of a poem will give the indication of its

subject matter or general meaning. By reading it over and over carefully

we can catch its meaning by focusing on the whole line. For if the most

lines talk about it, it would be the subjectmatter of the poem.

2) Feeling is the attitute of the poet towards the subject matter, the sense. By

reading a certain poem carefully, we could understand what does the poet

think about the subject matter.

3) Tone is the attitute of the writter towards the reader or the reality. By

understanding the tone we are led to understand wether the poet in a good

mood or bad mood.

4) Intention deals with the reason of the writere ro create a poem.

Undoubtedly a poet writes a poem for he has a special intention, at least

for himself, that is to express the writer feeling

Knowing the kinds of poem adds many thing to our understanding about poem historically and anatically. Sinha gives kinds of poetry in his book Hand book of Literature (1977:13-31).

1) Ode is a lyric adopted from Greek but altered significantly in form by

various English poets. It tends to be rather formal and elevated and often

dedicated to a prominent person.

2) Epic is the most ambitious kind of poetry which deals with heroes whose

action determined the fate of their country, nation, people or mankind. The

world true epic originally are Greek, Latin and Italian since it originates in

a period long before the depelopment of prose.

UNIVERSITAS SUMATERA UTARA

3) Elegy is written to express the feeling of sorrow or loss. Often it is written

to commemorate some one‘s death.

4) Postoral is a kind of poem that uses the fiction that all the character

concerned shepherd and shephedess. The name derived fro the Latin pastor

meaning sherherd and is related to pasture or medow.

5) Satire is a form of radicule and criticism, and it can be directed against

many different object, universal human vices of follies, social evils or

political short coming. Satire is often engendered by the writer desire to

improve socieity, to right a wrong.

6) Epigram is the brief from of all poems. It is may be short as two lines,

indeed the shorter more effective. The epigram is not usually rated very

height yet it is suprising how few really memorable epigram there are

UNIVERSITAS SUMATERA UTARA

CHAPTER III

FINDING AND DISCUSSION

3.1 Discuss the metaphors

The Road Not Taken by Robert Frost.

Two roads diverged in a yellow wood,

And sorry I could not travel both

And be one traveler, long I stood

And looked down one as far as could

To where to bent in the undergrowth

Then look the other, as just as fair

And having perhaps the better claim

Because it was grassy and wanted wear

Though as for that the passing there

Had worn them really about the same

And both that morning equally lay

In leaves no step had trodden black,

Oh, I kept the first for another day!

Yet knowing how way leads on to way

I doubted if I should ever come back.

UNIVERSITAS SUMATERA UTARA

I shall be telling this with a sigh

Somewhere ages and ages hence:

Two roads diverged in a wood, and i

I took the one less traveled by,

And that has made all the difference.

The Road Not Taken by Robert Frost has become one of the most

recognizable poems in American literature. It is a poem that speaks to choices,

and yet there is a tone of remorse. It is clear that the reader does not pay close

attention to the tittle, it is not the ―The Road Less Traveled.‖ It is the road that

was not chosen that the narrator frets about in the poem.

This poem is about actual and figurative roads: the roads we walk and

drive on, and the roads we take through life. As the speaker of this poem

discusses, for every road that is taken, there is a road that is not taken. The roads

a person takes can make a significant change in a person‘s life. It is human

nature to wonder about the road that was not taken.

Two roads diverged in a yellow wood.

And sorry I could not travel both

The speaker tells us the woods are yellow, so we can infer that it is

autumn. The metaphorical significance is that the woods represent the speaker‘s

life. In addition, the fork in the road is a metaphor for a choice. The speaker has

come to a point in his life, where he can go no farther without making a decision

that takes him down one path and does not allow him to take the other.

UNIVERSITAS SUMATERA UTARA

The description of the road is a metaphor for the future. When the speaker

looks down the road but cannot see beyond the undergrowth, the poet is

expressing that no one knows what the future will bring.

When the speaker begins to regret that he cannot take both of the roads, he

knows that it is unlikely that he will return this way. This is a metaphor for a

decision that changes everything – once the person has made it he can never go

back.

The last verse begins with a repetition of the first line which brings the reader full

circle and back to the extended metaphor. One of the key words here is ―sigh.‖

This is the indication that the speaker‘s choice was not as successful as it might

have been.

And then the famous line "and that has made all the difference," solidifies the

figurative level of this poem by saying that taking the road that the speaker took,

making the choice that he made, has changed his life.

3.2 Discuss the metaphors

Nothing Gold Can stay by Robert Frost.

Nature‘s first green is gold

Her hardest hue to hold

Her early leaf‘s a flower

But only so an hour

UNIVERSITAS SUMATERA UTARA

Then leaf subsides to leaf

So Eden sank to grief

So dawn goes down to day

Nothing gold can stay.

Here Frost starts off talking about nature, using a metaphor: "green is gold."

This takes the idea that green is the color we normally associate with nature and spring and twists it to show that, at the beginning of spring, nature is actually more gold than green. Note that this line also uses alliteration, repeating the G in

"green" and "gold," which only adds to the connection between the two colors.

Uses personification to talk about nature. It refers to nature as a "her" and says that she has a hard time holding on to the color gold. This metaphor, comparing a leaf to a flower, blurs the line between the two. Expects you to remember the metaphor from line 3, which compared a leaf to a flower. If you translate the line to "flower subsides to leaf," it makes a little bit more sense. The speaker's use of the word leaf twice keeps our minds working and adds more alliteration to the poem.

Uses a biblical allusion to refer to nature: the Garden of Eden. In the Bible, the

Garden of Eden is a perfect natural paradise. Here we're shown something about nature that we can see even if we're in the middle of a city—the sunrise. Note, though, that the line doesn't talk about the sun coming up, but dawn going down today.

The Types of metaphors in Nothing Gold Can Stay

UNIVERSITAS SUMATERA UTARA

1. ―Nature‘s first green is gold ― is Structural Metaphor 2. ―So dawn goes down to day‖ Orientational Metaphor

3.3 Discuss the metaphors

The Times Table by Robert Frost.

More than halfway up the pass

Was a spring with a broken drinking glass,

And whether the farmer drank or not

His mare was sure to observe the spot

By cramping the wheel on a water-bar, turning her forehead with a star,

And straining her ribs for a monster sigh;

To which the farmer would make reply,

'A sigh for every so many breath,

And for every so many sigh a death.

That's what I always tell my wife

Is the multiplication table of life.'

The saying may be ever so true;

UNIVERSITAS SUMATERA UTARA

But it's just the kind of a thing that you

Nor I, nor nobody else may say,

Unless our purpose is doing harm,

And then I know of no better way

To close a road, abandon a farm,

Reduce the births of the human race,

And bring back nature in people's place.

This poem gives light over the living condition of a farmer. He is aging.

The ailing mare is cramping the wheel on the water-bar( the passage from where water is leaking). She is suffering from rib ache. Each breathe is causing tremendous pain (Monster sigh). To which the farmer is saying, "Sigh, to every sigh she is making after a number of breathe of hard work. While with each sigh she is nearing to death" (taking the amount of pain she is suffering in consideration).

Further, with the above explanation of number of breathes into a sigh and number of sighs into a death he says, that's what life is all about. It is times table.

The truth is no matter how truthful it is to say or explain but one only understand if he comes across such difficult situation for himself. Also, the farmers suffering is known to everyone but still he finds no help. So he decides to abandon the farm such that the way for food will close down, hence the birth will reduce, life will

UNIVERSITAS SUMATERA UTARA

reduce. Only that will bring back people to understand the suffering of farmers and help them overcome this situation.

The type of metaphor in The Time Table

1. ―More than halfway up the pass‖ is Orientational Metaphor.

UNIVERSITAS SUMATERA UTARA

CHAPTER IV

CONCLUSION AND SUGGESTION

4.1 Conclusion

Metaphor is not only a linguistic phenomenon which shows the usage of figurative language, but metaphor also shows the concept of thinking and used widely pervasive in everyday life. Therefore, the word choice of someone is not random, but it has certain structure based on everyday experiences, background knowledge and culture.

Metaphors that are use in text such as poems by Robert Frost, shows that the used of metaphor is flexible. The whole types of metaphor in the poems are revealed through the analyzing of conceptual metaphor theory by Lakoff and

Johnson. They are structural metaphor, orientational metaphor, and ontological metaphor.

The meaning of metaphors also revealed from the analysis process which shows the condition of the country, life and nature. It can be seen that metaphor has been used as a tool in communication in order to make such impression in the interpretation of the readers and listeners. Metaphor also shows the concept and the point of view from his poems, Robert Frost.

UNIVERSITAS SUMATERA UTARA

4.2 Suggestion

After analyzing the data and summarizing the conclusion, researcher suggests to linguistics students who want to do a research in semantics approach, to deeply explore about conceptual metaphor theory, for instance, observing other media or clues such as poem to find the types of metaphors.

In the poems, theory of conceptual metaphor used to convey the concept of metaphor that leads to understand the meaning of metaphor. Therefore, the writer hopes that there will be other researches who will conduct the research using conceptual metaphor as a theory.

UNIVERSITAS SUMATERA UTARA

BIBLIOGRAFY

http://repository.uinjkt.ac.id/dspace/bitstream/123456789/32030/1/RATU %20SHODFATUL%20MUNIFAH-FAH

file:///C:/Users/COMPUTER/Downloads/Documents/7.%20NIM%202103 220006%20CHAPTER%20I.pdf

file:///C:/Users/COMPUTER/Downloads/Documents/Khilda%20Nida%20 M%20-%20FAH.pdf

https://www.brainyquote.com/lists/authors/top_10_robert_frost_quotes

https://everydaypowerblog.com/robert-frost-quotes/

https://www.enotes.com/homework-help/what-some-similes-that-occur- road-not-taken-by-371584

https://www.shmoop.com/nothing-gold-can-stay/nature-imagery.html

https://www.quora.com/What-does-Robert-Frost-want-to-convey-in-his- poem-The-times-table https://www.biography.com/people/robert-frost-20796091 http://www.english.illinois.edu/maps/poets/a_f/frost/life.htm https://www.britannica.com/biography/Robert-Frost

Gibbons, Tom. 1979. Literature and Awareness. London: Edward Arnold Ltd.

Keraf, Gorys. 1994. Diksi dan Gaya Bahasa. Jakarta: PT Gramedia Putaka

Umum.

Knowles, M & Rosamund Moon. 2006. Introducing Metaphor. New York:

Routledge.

Miller, Ruth and Robert A Greenberg, 1981. The Logic of Poetry. The United of

America:

UNIVERSITAS SUMATERA UTARA

Mac Graw-Hill, Inc.

Taylor, Richard. 1981. Understanding The Elementes of Literature. London: The

Macmillan

Press LTD.

Pardede, Martha. 2009. Understanding Poetry. Medan: USU Press.

Ward, Geoff. 1993. Guides to Romantic Literature. London: Bloomburg

Publishing Ltd.

Welleck, Rene and Austin Warren. 1956. Theory of Literature. New York:

Harcourt Brace

and World, Inc.

UNIVERSITAS SUMATERA UTARA

APPENDIX

Robert Frost, in full Robert Lee Frost, (born March 26, 1874, San

Francisco, California, U.S.—died January 29, 1963, Boston, Massachusetts),

American poet who was much admired for his depictions of the rural life of New

England, his command of American colloquial speech, and his realistic verse portraying ordinary people in everyday situations.

Life

Frost‘s father, William Prescott Frost, Jr., was a journalist with ambitions of establishing a career in California, and in 1873 he and his wife moved to San

Francisco. Her husband‘s untimely death from tuberculosis in 1885 prompted

Isabelle Moodie Frost to take her two children, Robert and Jeanie, to Lawrence,

Massachusetts, where they were taken in by the children‘s paternal grandparents.

While their mother taught at a variety of schools in New Hampshire and

Massachusetts, Robert and Jeanie grew up in Lawrence, and Robert graduated from high school in 1892. A top student in his class, he shared valedictorian honours with Elinor White, with whom he had already fallen in love.

Robert and Elinor shared a deep interest in poetry, but their continued education sent Robert to Dartmouth College and Elinor to St. Lawrence

University. Meanwhile, Robert continued to labour on the poetic career he had begun in a small way during high school; he first achieved professional publication in 1894 when The Independent, a weekly literary journal, printed his poem ―My Butterfly: An Elegy.‖ Impatient with academic routine, Frost left

UNIVERSITAS SUMATERA UTARA

Dartmouth after less than a year. He and Elinor married in 1895 but found life difficult, and the young poet supported them by teaching school and farming, neither with notable success. During the next dozen years, six children were born, two of whom died early, leaving a family of one son and three daughters. Frost resumed his college education at Harvard University in 1897 but left after two years‘ study there. From 1900 to 1909 the family raised poultry on a farm near

Derry, New Hampshire, and for a time Frost also taught at the Pinkerton Academy in Derry. Frost became an enthusiastic botanist and acquired his poetic persona of a New England rural sage during the years he and his family spent at Derry. All this while he was writing poems, but publishing outlets showed little interest in them.

By 1911 Frost was fighting against discouragement. Poetry had always been considered a young person‘s game, but Frost, who was nearly 40 years old, had not published a single book of poems and had seen just a handful appear in magazines. In 1911 ownership of the Derry farm passed to Frost. A momentous decision was made: to sell the farm and use the proceeds to make a radical new start in London, where publishers were perceived to be more receptive to new talent. Accordingly, in August 1912 the Frost family sailed across the Atlantic to

England. Frost carried with him sheaves of verses he had written but not gotten into print. English publishers in London did indeed prove more receptive to innovative verse, and, through his own vigorous efforts and those of the expatriate

American poet Ezra Pound, Frost within a year had published A Boy’s Will

(1913). From this first book, such poems as ―Storm Fear,‖ ―The Tuft of Flowers,‖ and ―Mowing‖ became standard anthology pieces.

UNIVERSITAS SUMATERA UTARA

A Boy’s Will was followed in 1914 by a second collection, North of

Boston, that introduced some of the most popular poems in all of Frost‘s work, among them ―Mending Wall,‖ ―The Death of the Hired Man,‖ ―Home Burial,‖ and ―After Apple-Picking.‖ In London, Frost‘s name was frequently mentioned by those who followed the course of modern literature, and soon American visitors were returning home with news of this unknown poet who was causing a sensation abroad. The Boston poet Amy Lowell traveled to England in 1914, and in the bookstores there she encountered Frost‘s work. Taking his books home to

America, Lowell then began a campaign to locate an American publisher for them, meanwhile writing her own laudatory review of North of Boston.

Without his being fully aware of it, Frost was on his way to fame. The outbreak of World War I brought the Frosts back to the United States in 1915. By then Amy Lowell‘s review had already appeared in The New Republic, and writers and publishers throughout the Northeast were aware that a writer of unusual abilities stood in their midst. The American publishing house of Henry Holt had brought out its edition of North of Boston in 1914. It became a best-seller, and, by the time the Frost family landed in Boston, Holt was adding the American edition of A Boy’s Will. Frost soon found himself besieged by magazines seeking to publish his poems. Never before had an American poet achieved such rapid fame after such a disheartening delay. From this moment his career rose on an ascending curve.

Frost bought a small farm at Franconia, New Hampshire, in 1915, but his income from both poetry and farming proved inadequate to support his family,

UNIVERSITAS SUMATERA UTARA

and so he lectured and taught part-time at Amherst College and at the University of Michigan from 1916 to 1938. Any remaining doubt about his poetic abilities was dispelled by the collection Mountain Interval (1916), which continued the high level established by his first books. His reputation was further enhanced by

New Hampshire (1923), which received the Pulitzer Prize for poetry. That prize was also awarded to Frost‘s Collected Poems (1930) and to the collections A

Further Range (1936) and A Witness Tree (1942). His other poetry volumes include West-Running Brook (1928), Steeple Bush (1947), and In the Clearing

(1962). Frost served as a poet-in-residence at Harvard (1939–43), Dartmouth

(1943–49), and Amherst College (1949–63), and in his old age he gathered honours and awards from every quarter. He was the poetry consultant to the

Library of Congress (1958–59; the post was later styled poet laureate consultant in poetry), and his recital of his poem ―The Gift Outright‖ at the inauguration of

President John F. Kennedy in 1961 was a memorable occasion .

Works

The poems in Frost‘s early books, especially North of Boston, differ radically from late 19th-century Romantic verse with its ever-benign view of nature, its didactic emphasis, and its slavish conformity to established verse forms and themes. Lowell called North of Boston a ―sad‖ book, referring to its portraits of inbred, isolated, and psychologically troubled rural New Englanders. These off- mainstream portraits signaled Frost‘s departure from the old tradition and his own fresh interest in delineating New England characters and their formative background. Among these psychological investigations are the alienated life of

UNIVERSITAS SUMATERA UTARA

Silas in ―The Death of the Hired Man,‖ the inability of Amy in ―Home Burial‖ to walk the difficult path from grief back to normality, the rigid mindset of the neighbour in ―Mending Wall,‖ and the paralyzing fear that twists the personality of Doctor Magoon in ―A Hundred Collars.‖

The natural world, for Frost, wore two faces. Early on he overturned the

Emersonian concept of nature as healer and mentor in a poem in A Boy’s Will entitled ―Storm Fear,‖ a grim picture of a blizzard as a raging beast that dares the inhabitants of an isolated house to come outside and be killed. Later, in such poems as ―Stopping by Woods on a Snowy Evening‖ and ―The Hill Wife,‖ the benign surface of nature cloaks potential dangers, and death itself lurks behind dark, mysterious trees. Nature‘s frolicsome aspect predominates in other poems such as ―Birches,‖ where a destructive ice storm is recalled as a thing of memorable beauty. Although Frost is known to many as essentially a ―happy‖ poet, the tragic elements in life continued to mark his poems, from ―‗Out, Out—‘‖

(1916), in which a lad‘s hand is severed and life ended, to a fine verse entitled

―The Fear of Man‖ from Steeple Bush, in which human release from pervading fear is contained in the image of a breathless dash through the nighttime city from the security of one faint street lamp to another just as faint. Even in his final volume, In the Clearing, so filled with the stubborn courage of old age, Frost portrays human security as a rather tiny and quite vulnerable opening in a thickly grown forest, a pinpoint of light against which the encroaching trees cast their very real threat of darkness.

UNIVERSITAS SUMATERA UTARA

Frost demonstrated an enviable versatility of theme, but he most commonly investigated human contacts with the natural world in small encounters that serve as metaphors for larger aspects of the human condition. He often portrayed the human ability to turn even the slightest incident or natural detail to emotional profit, seen at its most economical form in ―Dust of Snow‖:

The way a crow

Shook down on me

The dust of snow

From a hemlock tree

Has given my heart

A change of mood

And saved some part

Of a day I had rued.

Other poems are portraits of the introspective mind possessed by its own private demons, as in ―Desert Places,‖ which could serve to illustrate Frost‘s celebrated definition of poetry as a ―momentary stay against confusion‖:

They cannot scare me with their empty spaces

Between stars—on stars where no human race is.

I have it in me so much nearer home

To scare myself with my own desert places.

Frost was widely admired for his mastery of metrical form, which he often set against the natural rhythms of everyday, unadorned speech. In this way the

UNIVERSITAS SUMATERA UTARA

traditional stanza and metrical line achieved new vigour in his hands. Frost‘s command of traditional metrics is evident in the tight, older, prescribed patterns of such sonnets as ―Design‖ and ―The Silken Tent.‖ His strongest allegiance probably was to the quatrain with simple rhymes such as abab and abcb, and within its restrictions he was able to achieve an infinite variety, as in the aforementioned ―Dust of Snow‖ and ―Desert Places.‖ Frost was never an enthusiast of free verse and regarded its looseness as something less than ideal, similar to playing tennis without a net. His determination to be ―new‖ but to employ ―old ways to be new‖ set him aside from the radical experimentalism of the advocates of vers libre in the early 20th century. On occasion Frost did employ free verse to advantage, one outstanding example being ―After Apple-Picking,‖ with its random pattern of long and short lines and its nontraditional use of rhyme.

Here he shows his power to stand as a transitional figure between the old and the new in poetry. Frost mastered blank verse (i.e., unrhymed verse in iambic pentameter) for use in such dramatic narratives as ―Mending Wall‖ and ―Home

Burial,‖ becoming one of the few modern poets to use it both appropriately and well. His chief technical innovation in these dramatic-dialogue poems was to unify the regular pentameter line with the irregular rhythms of conversational speech. Frost‘s blank verse has the same terseness and concision that mark his poetry in general.

Works

The poems in Frost‘s early books, especially North of Boston, differ radically from late 19th-century Romantic verse with its ever-benign view of

UNIVERSITAS SUMATERA UTARA

nature, its didactic emphasis, and its slavish conformity to established verse forms and themes. Lowell called North of Boston a ―sad‖ book, referring to its portraits of inbred, isolated, and psychologically troubled rural New Englanders. These off- mainstream portraits signaled Frost‘s departure from the old tradition and his own fresh interest in delineating New England characters and their formative background. Among these psychological investigations are the alienated life of

The natural world, for Frost, wore two faces. Early on he overturned the

(1916), in which a lad‘s hand is severed and life ended, to a fine verse entitled

UNIVERSITAS SUMATERA UTARA

volume, In the Clearing, so filled with the stubborn courage of old age, Frost portrays human security as a rather tiny and quite vulnerable opening in a thickly grown forest, a pinpoint of light against which the encroaching trees cast their very real threat of darkness.

The way a crow

Shook down on me

The dust of snow

From a hemlock tree

Has given my heart

A change of mood

And saved some part

Of a day I had rued.

They cannot scare me with their empty spaces

Between stars—on stars where no human race is.

UNIVERSITAS SUMATERA UTARA

I have it in me so much nearer home

To scare myself with my own desert places.

Frost was widely admired for his mastery of metrical form, which he often set against the natural rhythms of everyday, unadorned speech. In this way the traditional stanza and metrical line achieved new vigour in his hands. Frost‘s command of traditional metrics is evident in the tight, older, prescribed patterns of such sonnets as ―Design‖ and ―The Silken Tent.‖ His strongest allegiance probably was to the quatrain with simple rhymes such as abab and abcb, and within its restrictions he was able to achieve an infinite variety, as in the aforementioned ―Dust of Snow‖ and ―Desert Places.‖ Frost was never an enthusiast of free verse and regarded its looseness as something less than ideal, similar to playing tennis without a net. His determination to be ―new‖ but to employ ―old ways to be new‖ set him aside from the radical experimentalism of the advocates of vers libre in the early 20th century. On occasion Frost did employ free verse to advantage, one outstanding example being ―After Apple-Picking,‖ with its random pattern of long and short lines and its nontraditional use of rhyme.

UNIVERSITAS SUMATERA UTARA

Legacy

Frost was the most widely admired and highly honoured American poet of the 20th century. Amy Lowell thought he had overstressed the dark aspects of

New England life, but Frost‘s later flood of more uniformly optimistic verses made that view seem antiquated. Louis Untermeyer‘s judgment that the dramatic poems in North of Boston were the most authentic and powerful of their kind ever produced by an American has only been confirmed by later opinions. Gradually,

Frost‘s name ceased to be linked solely with New England, and he gained broad acceptance as a national poet.

It is true that certain criticisms of Frost have never been wholly refuted, one being that he was overly interested in the past, another that he was too little concerned with the present and future of American society. Those who criticize

Frost‘s detachment from the ―modern‖ emphasize the undeniable absence in his poems of meaningful references to the modern realities of industrialization, urbanization, and the concentration of wealth, or to such familiar items as radios, motion pictures, automobiles, factories, or skyscrapers. The poet has been viewed as a singer of sweet nostalgia and a social and political conservative who was content to sigh for the good things of the past.

Such views have failed to gain general acceptance, however, in the face of the universality of Frost‘s themes, the emotional authenticity of his voice, and the austere technical brilliance of his verse. Frost was often able to endow his rural imagery with a larger symbolic or metaphysical significance, and his best poems transcend the immediate realities of their subject matter to illuminate the unique

UNIVERSITAS SUMATERA UTARA

blend of tragic endurance, stoicism, and tenacious affirmation that marked his outlook on life. Over his long career, Frost succeeded in lodging more than a few poems where, as he put it, they would be ―hard to get rid of,‖ among them ―The

Road Not Taken‖ (published in 1915, with its meaning disputed ever since). He can be said to have lodged himself just as solidly in the affections of his fellow

Americans. For thousands he remains the only recent poet worth reading and the only one who matters.

UNIVERSITAS SUMATERA UTARA