That puppy’s knocking maggie and milly and molly “A Kite for Aibhín” Stylistic Analysis of Anna Stylistic

Stylistic Analysis of Anna Stylistic Analysis of The Voice

over those potplants!
graphological First, there is the palpable
physical substance of the
utterance which, when
written, comprises
graphetic substance or,
when spoken, phonetic
substance.
In terms of graphology,
this particular sentence
is written in the Roman
alphabet, and in a 10 point
emboldened ‘palatino’
font.
However, as if to echo its
counterpart in speech, the
sentence-final exclamation
mark suggests an emphatic
style of vocal delivery.
and may Swell’s “BLACK BEAUTY”: A
(deviation) Poetic Prose
Capitalization is an important Multiple punctuation marks
element in Cummings‘ in a sentence, capitalization,
poems. His style of writing hyphenation, dashes, use of
poetry is manifested by brackets, unusual spellings
violating the regular rules of and quotation marks are
capitalization or punctuation unique graphological
in general. He often writes features of the text. The use
proper names in small letters. of such features has
Even his own name is written particular semantic and
using small letters. Rather stylistic effects on texts
than capitalizing the first  Use of Multiple
word of every sentence, or Punctuation Marks: Use of
every proper name, particular punctuation marks
Cummings seems to have an in a sentence creates certain
entirely different use for effects in the text. Often such
capitalization in a poem. In fragmented language makes
this poem, there are text difficult to comprehend
numerous examples of the but here case is reverse.
graphological deviation. Sentences narrated by Black
Examples from the poem Beauty are fragmented but
include; ―maggie, milly, are not difficult to
molly and may” also starting comprehend. It also helps the
the lines of the poem without author to narrate the events
capitalization in detail which is an evidence
of her extensive and deep
observation of animal life.
Two or three examples are
being presented here.
Example:  "Over the hedge,
on one side we looked into
the plowed fields and on the
other we looked over a gate
at our master's house we
stood by the road side."(p4) 
"My mother seemed much
troubled; she said that she
had known that horse for
years, and his name was Rob
Roy; he was a good horse,
and there was no vice in
him."(p 8-9)
Graphological features applied in
the story are punctuation; full stop
(.) 186 times, comma (,) 93 times,
apostrophe („) 41 times, inverted
commas (“”) 161 times, question
mark (?) 18 times and exclamation
mark (!) 7 times. Another
excessively used graphological
feature is „contracted form‟. For
example they‟re, shan‟t, haven‟t,
wouldn‟t, can‟t, it‟s, who‟s, you‟ve,
he‟s etc These contracted forms are
used for the economy of space and
time. Capitalization is used for two
times in the story. For example,
A Message.
Capitalization is used here to
emphasize the word “A MESSAGE”.
It shows the importance of word
“the message”. It is a deviation.
Thou whose Voice the waters
heard, and hushed their saying at
Thy Word.
The capitalization in this statement
is not a deviation on the part of
writer. It is the norm of language as
these words referred to The Lord,
who is a supernatural force.

 Capitalization Every
chapter and its title is
capitalized and serves the
purpose of foregrounding
and attracts the readers and
brings colors to aesthetic
beauty of novel. The title of
all chapters is in noun
phrases just like news
report’s heading. Examples: 
"MY EARLY HOME"(p4) 
"CHAPTER 2"  "THE
HUNT"(P7)

Unusual Spellings 
"Hallo"(p33),"Thank Ye"(p33)
and "Plowed" are the words
with unusual spellings. There
purpose looks to create
certain effects because in the
whole novel "Ye" is not used
for "you" except in this
sentence. Hello and ploughed
are actual words for "Hallo"
and "Plowed".

 Use of Brackets Use of

bracket is also a
graphological feature of this
text. It has been used to
provide extra information
related to particular event or
Example:  Dorothy (Dolly
they called her) p35  (I was
on the side next the house
and could see all that went
on) p25

 Hyphenation Hyphenation
has been used to create new
vocabulary item in the text
which adds colors to literary
expressions in the novel and
also has the aesthetic appeal
for the readers.
Examples:  Cart-horse cart
(p5)  Well-born (p5)  Box-
stall (p13)  Water-mill (p15)

That puppy’s knocking
over those potplants!
maggie and milly and molly
and may
“A Kite for Aibhín” Stylistic Analysis Stylistic Analysis of Anna Stylistic Analysis of The Voice
of the Short Swell’s “BLACK BEAUTY”: A
Story ‘The Last Poetic Prose
Word’ by Dr.
A. R. Tabassum
phonological In that spoken
counterpart, systematic
differences in sound sort
out the meanings of the
words used: thus, the
word-initial /n/ sound at
the start of ‘knocking’ will
serve to distinguish it from,
say, words like ‘rocking’ or
‘mocking’. To that extent,
the phoneme /n/ expresses
a meaningful difference
in sound.
Apart from these fixed
features of pronunciation,
there is potential for
significant variation in
much of the phonetic
detail of the spoken
version of example (1). For
instance, many speakers of
English will not sound in
connected speech the ‘t’s
of both ‘That’ and
‘potplants’, but will instead
use ‘glottal stops’ in these
positions. This is largely a
consequence of the
phonetic environment in
which the ‘t’ occurs: in
both cases it is followed by
a /p/ consonant and this
has the effect of inducing a
change,
known as a ‘secondary
articulation’, in the way
the ‘t’ is sounded .
Whereas this secondary
articulation is not
necessarily so conditioned,
the social or regional
origins of a speaker may
affect other aspects of the
spoken utterance. A major
regional difference in
accent will be heard in the
realisation of the historic
<r> – a feature so named
because it was once, as its
retention in the modern
spelling of a word like
‘over’ suggests, common
to all accents of English.
Whereas
this /r/ is still present in
Irish and in most American
pronunciations, it has
largely disappeared in
Australian and in most
English accents. Finally, the
articulation of the ‘ing’
sequence at the end of the
word ‘knocking’ may also
vary, with an ‘in’ sound
indicating a perhaps lower
status accent or an
informal style of delivery.
That puppy’s knocking
over those potplants!
Morphologic Certain of these
al morphemes, the ‘root’
morphemes,
can stand as individual
words in their own right,
whereas others, such as
prefixes and
suffixes, depend for their
meaning on being
conjoined or bound to
other items. Thus,
‘potplants’ has three
constituents: two root
morphemes (‘pot’ and
‘plant’) and a suffix
This lyric has a nursery
rhyming, song for little
children. So there is ample
use of alliteration. It helps in
creating rhythm and music
suitable for a table for
example:
i. maggie and milly and molly
and may
ii. so sweetly
iii. stranded star
iv. five languid fingers
v. blowing bubbles
vi. a smooth round stone
At the phonological level,
there are many examples of
rhyme, end rhyme, and
internal rhyme. ―may-day,
stone-alone, me-sea‖.
There is a pattern in stressed
and unstressed syllables
correspondingly referred to
as the ‘ictus‘ (/) and the
‗remiss‘ (x). The basic foot in
this poem is iamb with some
variations,
e.g.:
/x/x/x/
maggie and milly and molly
and may
There is a repetition of the
conjunction ‘and‘ which gives
'ise to a typical rhythm found
in children‘s song. The
number of syllable line-wise
is 1-2-9-3
The number of syllables in
many lines is similar so it
helps to create rhyme. Thus,
all these devices help create
nursery rhyme flavor which is
thematically blended with the
tone of the moral fable.
maggie and milly and molly
and may
The words used in this poem
are those which figure in
children‘s language or
domain. They are related to
the toys or for which children
have attraction. So they
evoke the world of children
and their interests. These can
be treated as words of a set
of their associated words or
collocated words. For
example:
―Beach – sea – standed –
star – shell – sing – horrible
thing – round stone – bubbles
– blowing- Sang-not
1-Assonance: the repetition
of the vowel sound to
create internal rhyming
within the poetic line. life/
time; pale/air; white/high;
beating/breeze
2-Alliteration: the
repetition of the consonant
sound, for example; the
third line white- wing,
beating –breeze , also in
the eleventh line; with –
wind, and the fifteenth line;
Climbing –carrying.
3-Free repetition: which
means the repetition of full
words in the poem. For
example; the word ―and‖
is repeated so many times
in the whole poem about
10 times, also the word
―kite‖, and the word
―carrying‖ in line (15). If
we want to know the
reason for
Alliteration Anna Swell has exploited Mental activities and exact feelings
The repetition of different literary devices to of characters are described through
initial consonant create a particular aesthetic phonological features in the story
sounds in closely appeal in her “The Voice”. For example,
occurring words anthropomorphic and Onomatopoeia is applied in the
is called autobiographical memoir of description of “The Voice” to make
alliteration. The horse "Black Beauty".  it clear and lively.
text under study Sound Repetition: It is one of
displays the outstanding features of Then he called out more loudly
numerous "Black Beauty". Almost on “Morgan”!
instances of every page, there is more
alliteration. than one example of sound In this sentence by speaking slowly
‘……and here is repetition. This is in-form of and loudly respectively, feelings and
my dusty shirt alliteration and assonance. At mental condition of Lewis is shown.
smeared with least one example from every
sweat and dirt.’ page will be put forward.  Lewis in terror.
‘Why has sweat The repetition of sounds in
dried suddenly different names in the novel hear”?
on your creates a very unique impact
forehead?’ on the mind of the readers. Here „shouting‟ represents Lewis‟
‘During the last On the other hand, sound fear.
watches of the repetition creates a musical
last night while effect in this text and makes sharply from the whole.
lying in my dark text of the novel just like
room….’ poetic prose.  "Rob Roy" „Sharply‟ represents Lewis‟ rage in
‘Then she smiled (p9)  "Black Beauty"(p16)  this sentence.
and said to me:’ "Gray Grant or Governor
‘You are exactly Grant fear‟, said the old man calmly.
what I wanted
you to be.’ Here, „calmly‟ shows Morgan‟s
‘….the Expression such as on page inner satisfaction. Pritchett applies
nightingale sang 25, 16 and 7 serve as an other phonological features like
a sweet and effective onomatopoeia assonance, consonance, alliteration
melodious song. which adds color to the and repetition etc to beautify his
‘………beauty of beauty of text and Swell's work. Consonance is the repetition
my man. style.  "snappish and of consonant sounds at the end of
‘……the lovely suspicious" (p26)  "will do the words in a sentence. For
drops of dew…… very well with"(p27) example,
“And the dark  "day by day, whole by ing their lives
and stormy night whole"(p28)  "still strained working and digging for hours.
is drawing on the saddle"(p29)
nigh…….’ In this sentence \η\ is repeated
Assonance  Sound Elision: In this thrice. It‟s a consonance.
Assonance is the process writer often omits a k-lock of the word went on.
repetition of unit of sound or even syllable
similar vowel to create certain literary \k\ is consonance in this statement.
sounds in closely effect which satisfies Consonance \t\ is repeated.
occurring words. aesthetic sense of readers. Alliteration is a repetition of initial
Following Swell has exploited this consonant sounds in two or more
instances of sound device to achieve her words in a sentence. For example,
assonance are
aesthetic goals.  "I don't
found in the text. communion rail.
know" (p35,7)  "I don't
…..and here is my
believe" (p21,26)  "but 'twas
dusty shirt \k\ sound is alliteration as it is
all for me"  "I don't
smeared with repeated thrice.
think"(p14)
sweat and dirt.
“And the dark
and stormy night  Elongation of sounds: This \r\ sound is repeated twice in this
is drawing device has also been used for sentence, it‟s also alliteration.
nigh…….’ 5.2.3 emphasis such as at page 7; 
Consonance "yo!yo,o,o!yo,o,o!" hands over the pit.
There is
repetition of \h\ as alliteration, repeated three
‘s’,‘t’ and ‘d’ times.
sounds in these
lines. …… his skin again.
is sunburned.
‘……and here is \w\ is alliteration in this sentence.
my dusty shirt
smeared with
sweat and dirt.’
‘Why has sweat
dried suddenly
on your
forehead?’ 5.2.4
Rhyme “Then she
smiled and said
to me: You are
exactly what I
wanted you to
be.”
Stylistic Analysis of The Voice
V.S Pritchett has created new words
from existing ones through word
formation. For example,
from world.
Three types of word formation are
found in this story; 3.6.1 Affixation It
is the formation of new words by
joining free morphemes and bound
morphemes. For example,
Unmistakable (prefix; „un‟ and
suffix; „able‟)
 (the plural morpheme ‘s’),
making the word a three
morpheme cluster
That puppy’s knocking
over those potplants!
semantic A truth value specifies the
conditions under which a
particular sentence may be
regarded as true or false.
For instance, in this
(admittedly hypothetical)
sentence, the
lexical item ‘puppy’
commits the speaker to
the fact that a certain type
of entity
(namely, a young canine
animal) is responsible for
the action carried out.
Other
terms, such as the
superordinate items ‘dog’
or even ‘animal’, would
still be compatible
in part with the truth
conditions of the sentence.
remember troubles,
befriended- chased.‖
All these are the words from
a set. They create or evoke an
atmosphere at the sea-beach
and how children help
themselves and meet their
interests, the use of too many
‘ands‘ in the first line of the
poem cannot go unnoticed. It
distinguishes the four people
at the same time also groups
them.
maggie and milly and molly
and may
„ed‟)
3.6.2 Compounding Compounding is
to combine free morphemes to
make new words. For example,
gyman
3.6.3 Hyphenation Hyphenation is
formation of new words by joining
free morphemes through hyphens.
For example,
-goat
-walk
-tack
Stylistic Analysis of The Voice
In the story, many figures of speech
are used to accomplish the semantic
expressions. Personification is a
typical rhetorical device in fairy
tales. In this story, the pigeon just
symbolizes the omen of release.
Furthermore, Pritchett also applies
similes and metaphors excessively
which make the language diversified
and beautiful. Here lists some
examples excerpted from this story
to illustrate the similes and
metaphors.
3.5.1 Similes
tooth.
rabbit.
3.5.2 Metaphors Lewis calls Morgan
“devil” again and again. „Devil‟ is
metaphorically used here to show
Lewis‟ biasness against Morgan.
A Stylistic Analysis of a Philippine
Essay, “The Will of the River”
The classified adjuncts in the initial
positions facilitated in the analysis
of the meaning of the essay.
The essay opened with a locative
prepositional phrase function as a
subject of the sentence. As a
subject, it does not function as an
adverbial. It fulfills a syntactically
nominal function. But since it
answers the question where it
denotes a semantically adverbial
function. It expresses circumstance.
(4) [BY MY WIFE’S ancestral home]
flows a river. The subject of the
clause itself identifies the location of
the river in the essay. According to
Busse (2012), a by my construction
is lexically primed because “the
persons, concepts or things referred
to are usually held high in high
esteem by the speaker. Also, they
are thought to be appreciated by
the hearer” (Hoey, 2005 in Busse,
2012 p.302). This said construction
seems to tell us that the river is very
significant to the narrator.
Essentially, the succeeding clauses
of the essay show initial position
adjuncts of circumstance time
providing more information of time
duration and temporal position that
make the narration of the author
vivid.
(5) [For a dozen summers] I have
visited it, and almost every year I
make an effort to trace its course
back to its source in the neighboring
hills; I do not consider my vacation
there complete without doing this.
(6) [But] [this past summer] I saw
something I had never seen before,
though I know that if I had been
sufficiently observant in other
abnormally dry years, I am sure I
could not have failed to notice the
same thing earlier
Circumstance time duration in the
initial position in (5) informed the
reader of the number of times the
speaker has visited the river. The
lexicon summer in the Philippines
usually refers to either in the month
of April or May where most Filipinos
have their vacation by spending it to
some beautiful destinations or visit
their relatives in the provinces just
like what the narrator did in the
essay. The duration of time suggests
not only the fondness and value of
the river to the narrator but also its
deep familiarity with him.
EVIDENTLY, the narrator has known
the river for so long. Initial adjuncts
in (6) contribute to cohesion by
being anaphoric through the
repeated word such as summer that
exemplifies cohesion of the text.
Significantly, the author has
effectively woven the events using
linking adverbials which are
important devices for creating
textual cohesion (Biber et al., 1999).
The author employed them to
organize and connect long stretches
of clauses and to help readers follow
the preceding discourse. In the

That puppy’s knocking
over those potplants!
Syntactic from morphology takes us
into the domain of
Lexico-
language organisation
grammar
known as the grammar, or
more appropriately
perhaps, given that both
lexis and word-structure
are normally included in
such a description, the
lexico-grammar.
Much could be said of the
grammar of this sentence:
it is a single ‘clause’ in the
indicative declarative
mood. It has a Subject
(‘That puppy’), a Predicator
(‘ ’s knocking over’) and a
Complement (‘those
potplants’). Each of these
clause constituents is
realised by a phrase which
itself has structure. For
instance, the verb phrase
which expresses the
Predicator has a three part
structure, containing a
contracted auxiliary ‘[i]s’, a
main verb ‘knocking’ and a
preposition ‘over’ which
operates as a special kind
of extension to the main
verb. This extension makes
the verb a phrasal verb,
one test for which is being
able to move the extension
particle along the sentence
to a position beyond the
Complement (‘That
puppy’s knocking those
potplants over!’).
maggie and milly and molly
and may
Note the grammatical
deviation in line11 ―Like a
you or me‖ (misclassification-
word of one class for
another) here the personal
pronouns turn up as heads of
noun phrases. See also the
deviant syntax in the use of
‘alone‘ as an object of
comparison.
―As small as a world and as
long as alone‖. Notice the
deviation in the following
line:
―Whose rays five languid
fingers were‖ (dislocation).
These two examples of
fragmentation/ parenthesis
placed in bracket, e.g. (to play
one day); like a you or a me).
The use of the indefinite
article ‗a‘ modifying
pronouns ‗you‘ and ‗me‘ as
in like a you or a me. It
suggests anyone in the world
in a novel manner.
In line no. 3 and 4 there is a
case of syntactic elaboration
e.g. and Maggie discovered
“a shell that sang so sweetly
she couldn’t remember the
troubles”.
There are many cases of
parallel structures:
1- Maggie discovered a shell
S.V.O
2- She couldn‘t remember
the troubles S.V.O
3- Milly befriended a
stranded star S.V.O
4- We loose S.V.
5- We find S.V.
Stylistic Analysis of the
Short Story ‘The Last Word’
by Dr.
A. R. Tabassum
The story contains various
parallel structures. The
story contains parallelism
on the phonemic, word and
syntactic levels. Anaphora
occurs where many
successive clause or
sentences start with the
same word or clause.
Following instances of
anaphora and parallel
syntactic structure are
found in the text, which are
in big proportion if we
consider the total length of
the story.
“Here is my shovel, here is
my basket, and here is my
dusty shirt smeared with
sweat and dirt.”
“Why have you dropped
your scythes from your
hands in despair? Why has
sweat dried suddenly on
your forehead?
Why have you turned
pale?”
“His body is disfigured with
bruises and wounds and his
heart is bleeding. His hair is
unkempt, his face is not
given a
wash and his skin is
sunburned.”
Worry you not if the way is
long and full of uncertainty,
the night is dark, and I
disfigured and weak.”
“I moaned. I screamed.”
“She paused. She
pondered.”
“I could not scan the dust
on your face, could not
gauge the depth of your
wounds, could not hear the
beats of your
aching heart, and could not
feel the bruises you had.”
Repetition
There is a lot of repetition
of certain phrase, clauses
and words
Stylistic Analysis of The Voice
The syntactic features of the story
are of both types, short as well as
long. The shortest sentence in the
story is only of one word; for
example,
Longest sentence in the story is
comprised of 65 words. For
example,
man with saintly white head and the
eyes half closed by the worldly
juices of food and wine, for walking
about dressed in his vestments, like
an actor walking in the sun of his
own vanity, a hook-nosed satyr, a
he-goat
significant to servant girls, the crony
of the public-house, the chaser of
bookmakers, the smoker of cigars.
It is a combination of narration and
dialogues. The story opens with
narration and further continues in
both the narration and dialogues.
The language is a bit difficult and
not easy to be understood. It is
featured by a formal style. Complex
phrases, clauses and sentences are
used frequently.
essay, most occurrences of this
classification are conjunctions which
introduce another context with their
pragmatic meaning while others
retained their semantic meanings.
They function as linking adjuncts as
shown in the following lines in the
essay: (23) [But] [this past summer] I
saw something I had never seen
before… (24) [But] [where we stood
at the moment] there was no water
to be seen. (25) [And] [yet],
[continuing our way into the hills],
we found the river grow deeper…
(26) [But] Bacong - because that is
the name of our river determined to
reach the sea… (27) [And] [then] I
thought of human life. (28) [But] I
thought most of all of those who,
like our river… (29) [On the other
hand], think of other lives that, …
(30) [And] what is the duty of a
river? (31) [For] part of the
ministering duty of a river is to flow
on and on… (32 [And] does this not
suggest that the river of man’s life
should be likewise? (33) [For] [if in
the face of obstacles] it lacks the
strength… (34) [For] Bacong was
able to carry on…
A Stylistic Analysis of a Philippine
Essay, “The Will of the River”
THE PHYSICAL STRUCTURE
The essay consists of 15 paragraphs
with 53 sentences and 1,356 words.
The highest number of words in a
paragraph is 229 which occurred in
the last paragraph. It also has the
greatest number of sentences, and
the lowest number of words is 22
which occurred in the 9th
paragraph, the only paragraph
which contains only one sentence.
ial adjunct adverbials including the
adjuncts that appear in series in a
clause. Thirteen out of fifteen
paragraphs have initial position
adjuncts which include coordinating
conjunctions functioning
semantically as adjuncts. The
highest number of adjuncts is in the
last paragraph in which the number
of occurrences is almost one-fourth
of the total initial adjuncts while the
second higher in number occur in
paragraph 2 with half of the total
and 12 have the third highest
number of occurrences with the
same distribution. The least
occurrences are in paragraph 1, 3, 6
and 14 while single occurrences are
recognized in paragraphs 7, 9, 11
and 13. The syntactic realization of
these initial sentence adjuncts
ranged from single adverbs to
adverb phrases, clauses and
coordinating conjunctions. Most of
these series are a combination of
single word and phrase or word and
clause or clause and another clause
in a clause. These series may affect
the comprehension of the readers
on the essay. In the essay, the [ ] is
used to show the series of initial
adjuncts.
(1) [And] [yet], [continuing our way
into the hills], we found the river
grow deeper and stronger than it
was as it passed by our cottage. (2)
[Verily], [if a man derives his
strength and inspiration from a low
and feeble source,] he will fail to
“arrive.”
 Mates and friends!

I must depart from you

My sweetheart has called

me back.

Besides the phrase and

clauses mentioned above,
certain nouns are
frequently repeated. These
are:

Dust, bruises, wounds,

dark, storm, heart, despair,
night, sweetheart, beauty,
sun, garden, song

Verbs like sigh, sobbed and

loved are also repeated
time and again. Modal
auxiliaries must, will and
should are also frequently
used.

That puppy’s knocking

over those potplants!

discourse the use of a more

generalised word like, say,
‘animal’ will have exactly
the same repercussions for
the utterance as discourse.

In spite of its semantic

compatibility, this less
specific term would
implicate in many contexts
a rather negative
evaluation by the speaker
of the entity referred to.
This type of implication is
pragmatic rather than
semantic because it is
more about the meaning
of language in context than
about the meaning of
language per se.

Returning to the semantic

component of example (1),
the demonstrative words
‘That’ and ‘those’ express
physical orientation in
language by pointing to
where the speaker is
situated relative to other
entities specified in the
sentence. This
orientational function of
language is known as
deixis. In this instance, the
demonstratives suggest
that the speaker is
positioned some distance
away from the referents
‘puppy’ and ‘potplants’.
The deictic relationship is
therefore ‘distal’, whereas
the parallel
demonstratives ‘This’ and
‘these’ would imply a
‘proximal’ relationship to
the referents.

That puppy’s knocking

over those potplants!
Stylistic Analysis of The Voice

lexical The word ‘knocking’ also Pritchett has used complex and
raises an issue in lexicology plentiful words. The story is
: notice for instance how combination of common and
contemporary English uncommon words, shorter and
pronunciation no longer longer words. The shortest word is
accommodates the two comprised of a single alphabet. For
example „A‟ and these are 86 in
word-initial graphemes <k>
number. While the longest word is
and <n> that appear in the
comprised of 13 alphabet i-e
spelling of this word. The „Extraordinary‟ and it is present in
<kn> sequence – originally the story for one time. Complex
spelt <cn> – has become a words like,
single /n/ pronunciation, Smouldering cloth,
along with equivalent
occurrences in other
Anglo-Saxon derived lexis
in modern English like
‘know’ and ‘knee’. The They are used to express the themes
double consonant of the story and inner mental
pronunciation is however activities and feelings of characters.
still retained in the They also beautify the language of
 vocabulary of cognate story. For a few times the writer has
languages like modern deviated from the norms of
Dutch; as in ‘knie’ language to create the uniqueness
(meaning ‘knee’) or and newness in his work. Three
‘knoop’ (meaning ‘knot’) it types of lexical deviations are
is perhaps the very present in the story. 3.3.1
obviousness in the context Contraction Words are contracted
of what the puppy is doing for the economy of space and time.
vis-à-vis the content of the This style is used mostly in speaking
utterance that would but Pritchett has applied it n writing.
prompt the addressee to For example, They‟re, in the place
look beyond what the of „they are‟, shan‟t, in the place of
speaker ‘literally’ says. The „shall not‟, haven‟t, in the place of
speaker, who, remember, „have not‟, wouldn‟t, in the place of
is positioned deictically „would not‟ can‟t, is used for
further away from the „cannot‟, it‟s, is used for „it is‟
referents, may also feel who‟s, is used instead of „who is‟,
that this discourse strategy and you‟ve has used for „you have‟.
is appropriate for a better- 3.3.2 Neologism Neologism is the
placed interlocutor to formation of new words, which are
make the required timely used for the first time in a text and
intervention. Yet the same not applicable in the language
discourse context can normally. Pritchett has neologized
produce any of a number three such words:
of other strategies. A less
-lock,
forthright speaker might
employ a more tentative -table,
gambit, through something
like ‘Sorry, but I think you -walk.
might want to keep an eye 3.3.3 Functional Conversion In
on that puppy . . .’. Here, functional conversion, noun is used
indirection serves a as a verb or a verb is used as a noun.
politeness function, Example of functional conversion of
although indirection of this story is
itself is not always the best
policy in urgent situations
where politeness
considerations can be
over-ridden Here, word „cake‟ that is noun is
used as a verb, though there could
be used word “flowed” in place of
caked. But writer has preferred
„caked‟ to give rich expression.

maggie and milly and molly

and may

(deviation)

Figures of 1- ―Its ourselves we find in

speech the sea (of life)‖ and
―whose rays five languid
fingers were‖.

These two lines are

metaphors, which mean an
implied comparison between
two things of unlike nature.

2-―as small as a world and as

large as alone‖

This line is a simile. Notice

the use of the word ―as‖ to
compare the likeness of the
size of the world. A simile is a
figure of speech by which one
thing, action, or relation is
likened or explicitly
compared, often with as or
like, to something of a
different kind or quality.

By mentioning an example of
stylistic analysis, one can
easily recognize the patterns
of alliteration, repetition, and
examine these patterns,
which contribute to meaning
and our interpretation of the
poetic contents and effects.
The next poem will enhance
the stylistic interpretation by
giving another style and
technique of another poet.

It is necessary to note that

diction is the choice of words
a poet uses to bring meaning
across. In working through a
poem, it is useful to question
why a certain word is used,
and what kind of effect is
achieved with the choice and
placement of the word.
Besides its implied meaning,
diction also adds to the mood
and attitude of a poem; the
choice of words may be used
 to evoke a feeling in the
reader. Widdowson(1992:12)
has described poems as:
―Poems are uses of
language, but in many ways
they are peculiar uses of
language. Their meanings are
elliptical and elusive,
deflections from the familiar.
They seem often to be
perversely obscure in their
flouting of conventional
standards of clarity and
commonsense. They are
frequently eccentric in choice
of word and turn of phrase.
They are cast in curious
prosodic forms of rhythm and
rhyme, assembling language
not, as is usual, in sequence
but in parallel lines‘.

discourse

maggie and milly and molly “A Kite for Aibhín”

and may

Rhythm and First of all, the rhyme scheme
meter of this poem is
AABCDDEFGGHH, so we can
easily notice that the lines (3-
4) and (7-8) break the
rhyming scheme of the poem.
There is also a kind of
parallelism between the two
lines (3-7), this is also right
between (4-8), these lines
end with (troubles, and –
bubbles, and
the language of the poem is
rather simple. The total
number of the words in the
poem is (143) words. This
poem has rather various
rhyming scheme, which is;
(a,b,c,d,e,d,f,g,f,h,I,h,j….etc)
Also, this poem consists of
(6) stanzas and the last line
―The kite takes off, itself
alone, a windfall‖. Each
stanza consists of three
lines, which is called a
triplet using free repletion
the only answer is that to
create a musical effect and
to emphasize certain point
that the poet has in his
mind.

A Stylistic Analysis of
Complexity in William
Faulkner's

"A Rose for Emily"

Complexity of Sentence Structure

Sentence
In this level the three types of
sentence are surveyed
throughout the whole story:

a. Simple sentences

Faulkner's intelligent
utilization of sentence type is
highly obvious in A Rose for
Emily. There are 60 simple
sentences

that are mainly functioned

for basically three purposes:

1- Change of ------- time, e.g.

act I sentences no. 11 & 26

------- point of view, e.g. act I

sentences no. 31 & 32

------- place, e.g. act III

sentence no. 4

2- Rapid happenings, e.g. act

III sentence no. 6

3- Miss Emily's relationship

with the people of her town
reflecting her dignity and
obstinacy, e.g. act II
sentences

no. 18 & 19

b. Complex sentences

Complex sentences include

Paratactic and Hypotactic
constructions. Paratactic
constructions are mainly used
in direct

speech, for instance, Act III

sentences no. 15 & 24. They
 sometimes also refer to the
addition of something. The
total

number of paratactic
constructions is 66.

On the other hand there are

96 hypotactic constructions in
the story and Faulkner
functions them intelligently
to convey

his theme. Since the theme is

complex in nature, he needs
a complex (round) character
represented in Miss Emily
and

complex constructions
represented in the hypotactic
ones. Almost all hypotactic
and para-hypotactic
constructions are

used to describe the complex

psychological aspects of this
character. Faulkner uses this
complex structure as a type
of

technique to express man’s

position in the modern world.
The complexity of Faulkner's
narrative structures mirrors
the

complex lives we lead.

Concerning sentence length

as another face of
complexity, Faulkner uses
sentences that vary in their
lengths; however,

the majority of them are

lengthy ones. He exploits the
longest sentence no. 4 / ACT
V which is complex of a
hypotactic

construction to declare the

climax. This sentence is
represented in table (5) in the
appendix as:

α˄β˄γ˄ε˄δ˄ζ˄η˄θ˄κ˄λ˄μ˄ν,
consisting of 129 words!

Complexity of sentence
structure and sentence
length are best shown in brief
in table (2) where the first
column

represent the act number,

the second the sentence
number, the third sentence
length, the fourth sentence
type whether

simple or complex, and the

fifth represents the sentence
complexity type. More
detailed tables that provide
better

descriptive illustrations are

found in the appendix.

A Stylistic Analysis of
Complexity in William
Faulkner's
"A Rose for Emily"
interpretatio Ironically, it can be seen from
n table (5) that when we
reconstruct the chronological
arrangement in this linear
fashion,
we render Faulkner’s
masterpiece an injustice. The
order of events from a micro-
vision attitude shows its
impact on the
whole story resulting in an
element of suspense that
dominates the story from as a
whole.
The first two lines are
describing the physical
atmosphere, including the
air which the poet
describes as ―Air from
another life and time and
place‖, refers to something
special or rare, and
―heavenly‖ as he mentions
in the second line. The third
line is a metaphoric line in
which the kite is described
as ―A white wing beating
high against the breeze‖,
the wing which is flying
against the heavenly air in
the sky. After this
description, he ascertains
 that it is a kite by using the
word ‗yes‘. He also
mentioned in the same line
that the family gathered in
one afternoon to watch this
flying kite. All this
celebrating the birth of the
newborn child, so the kite
can represent the child, and
all the family members are
gathered to attend this
great event. Then after this
peaceful description, he
mentions ―Among the
briar hedges and stripped
thorn‖, the thorn and briar‘
to refer to the delivery
process of the child or for
the waiting process which is
as we can say in our daily
life ―on pins and needles‖.

In line (7) the poet

continues to describe his
way of dealing with this
event or situation. In line
(8), he makes a reference
to ―Anahorich Hill‖ one of
the places from the poet‘s
early childhood, when he
was a schoolboy, this place
stick to his memory.
Actually, he recalls the
memory of this green place,
this place in which water
springs from the earth
making everything alive and
green (Ibid).

In line (10) and (11), the

poet comes back to
describe the kite, he
mentions that after
recalling some memories.
He said the all the family
members are watching the
kite, and then he uses
several vital verbs { hovers,
tugs, veers, dives } in this
line to describe the
movement of this flying
object.
Line (12) the family
encourages the kite as if it
is a person, Heaney uses
―rise‖ opposite to
―below‖ referring to the
position of the kite and the
family members.
In line (13) the poet uses a
simile; he makes similarity
between his hand and a
spindle (spinning wheel),
which rolling up the thread
of the kite.
Line (14) and (15) an
allegory of parenthood is
created by the poet, he is
describing how skillful is
the kite flyer is
―Unspooling, the kite a
thin-stemmed flower‖.
Actually, he encourages the
kite to soar ―Climbing and
carrying, carrying farther,
higher‖
Line (16) and (17) refer to
the infant‘s longing to the
breast of the mother and
looking at her face. Finally,
line (18) and (19) refer to
the childbirth and to the
separating process of the
umbilical cord which
connects the mother and
the child. Readers can
notice the long hyphen
referring to this process,
then the newborn child
comes down by itself as a
gift by nature, the poet
uses ―windfall‖ the most
appropriate climax to the
very beginning of the kite in
the air

Stylistic Analysis of the A stylistic analysis of a A Stylistic Analysis of a Philippine

Short Story ‘The Last selected short story in Agnes Essay, “The Will of the River”
Word’ by Dr. Newton Keith’s Land below
A. R. Tabassum the Wind: Narratorial shift,
 ambivalence and mimicry in
colonial writing
Point of view The story is narrated by At the very beginning of the Since the literary piece is a narrative
first- person narrator, who short story, Agnes uses essay, it encompasses authorial
is also the protagonist of psychological point of view omniscience, his personal version of
the story. The thoughts, type A in the excerpt below, events. The writer serves as the
actions and it is clear that Agnes plays the firstperson-actional participant since
dialogues of other role of a narrator as well as the main character tells his story.
characters are conveyed to participant for this story and This focalization has a clear
us by the narrator’s point thought from a first-person authorial viewpoint which projects
of view. The narration is in point of view (Verdonk, the coherence or purpose and
fact in form of a 2002). Her description of the human perception The essay has 23
farewell speech. The trip to Semporna is from her occurrences of personal pronoun I
narrator is speaking in such point of view and is based on which justifiably indicate the
manner as if he is her participating character’s subject. However, there is also
connecting with his consciousness. Agnes greater occurrences of the pronoun
listeners and as if he knows describes as follows: it with 18 occurrences, referring to
how the river, which justifies the
they think and feel. Our return trip from the significance of the river throughout
Following instances from island usually leaves us at the essay.
the text serve best to Semporna for a night. After
illustrate this point. the green and blue of the
“Mates and friends! You jungle and sea, the glowing
are whispering in each white strand of Semporna
other’s ears. I know what seems to strike out at me like
you mean. a violent hand across the
“Let me tell you something cheek, painful almost in its
however incredible it may heat. But there is one time
sound.” thereafter the sun has first
“Mates and friends! Now gone, when the scene
don’t wink at each other becomes unbelievably
ominously.” beautiful. And perhaps
because that darkening coast
holds the memory of amok of
1935, that sunset beauty is
also sad…

However, as the story

progresses, there seems to
be a clear change of point of
view from type A to type B
when Agnes starts to
describe Abanawas and she
herself changes her roles to
be the heterodiegetic
narrator. The narrator is
telling the story from an
omniscient point of view who
tells the story using a third
person omniscient and
possesses the ability to see
the inner thought of her
characters. Here she focuses
on the character’s point of
view, feelings and inner
thoughts. She is trying to
avoid bias in her narrative by
making herself as the
omniscient narrator:

In the noisy darkness of the

jungle night he sat by the
river and thought. In only one
way could the shame be lifted
from himself and his wife. He,
Abanawas, a man of the river
had no choice in the dead
which he must do. He must
do what his ancestors had
done, what his conscience
told him to do […] when the
shame had been lifted by
blood Abanawas looked
down on the twisted, once
lovely body of his adulterous
wife transfixed to the ground
by his spear. The bleeding
torso and severe head of her
lover lay near her. As
Abanawas looked sadly down
on them he knew that his
action was just

Here Agnes discusses the

reason why Abanawas kills
his wife and her partner. She
describes Abanawas as an
obedient person who tries to
live as a dignified man in
accordance to the law of the
native. Starting from this
point, she uses zero
focalization where the
narrator does not play any
role in the story but seems to
know and says more than any
of the other characters. This
comes together with the free
indirect discourse.
Characters All the characters are
nameless. There is a
gardener who is addressing
his fellow gardeners as he
is departing from the
garden. The fellow
gardeners are very much
concerned about the
journey which the
protagonist is going to
undertake
because “the way is long
and full of uncertainty”
and the protagonist is
disfigured and weak
however he advises them
not to worry about him
and get back to work
because “the gardener is
hard to please”. This
certainly indicates the
presence of a supervisor.
Then there is the “sweet-
heart”, who is calling the
gardener to accompany
her to some unknown
destination where he
would be rewarded with
his wage of love.
Finally there are the
beauties of the garden
who will live in the ‘eternal
songs’ of the gardener
when he is gone.

Metaphor Allegory
and
metonymy The story is allegorical and
metaphorical one as it
contains two levels of
meaning.
At surface level there is a
gardener taking leave from
his fellows before leaving
the garden. This leave
taking is in form
of an address, but the
language used is clearly
not suited to a gardener.
The garden is used as a
metaphor for the world.
So at a deep level it is the
farewell speech of a man
leaving the world.
The phases of the sun are
the metaphor for the
different phases of man’s
life as in:
“Mates and friends! Today
at dawn the nightingale
sang a sweet and
melodious song which, I
know, was a message from
my sweetheart calling me
back. As the sun rose high,
the lovely drops of the
dew, precariously balanced
on the
thorns of the rose bush,
beckoned me to follow
them to her and then they
ominously left the bush.
Now the sun is on
the decline.”

FOREGROUN Parallelism and

DING anaphora
Parallelism

SYNTACTIC /
LEXICAL/
PHONEMIC

A stylistic analysis of a
selected short story in
Agnes Newton Keith’s Land
below the Wind:
Narratorial shift,
ambivalence and mimicry
in colonial writing
speech acts From the excerpt above, it
shows that Agnes uses the
narrative report of speech
acts. Agnes tries to
alienate the reader from
the imperialist by raising
the issue of how the white
man’s law has
discriminated the law of
the native. Agnes also tries
to build a closer
relationship between the
reader and the main
character Abanawas using
internal perspectives type
B. The excerpt above also
demonstrates some
aspects of transitivity items
by displaying unequal
power relationship
between the agency and
the victim—the clausal
structure of an agent-
affected –agent
hurledaffected.