Analytical Paper | Shahaji, N.

W. Houston’s The Greatest Love of All: A Song Analysis

Nurtimhar A. Shahaji

In Oral Literature, a song is a piece of music (accompanied by musical instruments)

with words usually utilized to communicate thoughts, feelings, and attitudes towards life as
Bernice Bessey puts forward (aucccom.wordpress.com). Songs, to include lullabies, praise
songs, war songs, love songs, and other related ones are creative literature pieces for the
reason that the words contained are carefully “selected, arranged and weaved” to
communicate a particular message (Bessey, 2016).

In this paper, I would be analyzing, perhaps one of the most remarkable songs of the
well-known singer-song writer Whitney Houston, entitled “the Greatest love of all”.

At one glance, the song could be talking about a well-grounded, optimistic, and
genuine woman who believes that the greatest love of all is self-love. Furthermore, this
analysis would be revolving on the prime question which is, “who is the persona of the song?”
and in this analysis as well I would be employing two analytical frames: illustrative subterfuge
and figurative representation.

Analysis

Who is the persona of the song?

On the basis of the lyrical content, it is speculated that the persona of the song refers to every
single person who, after having experienced adversities and partiality of [life]—depressing
instances, failed relationships, lone existence, broken trusts, scarcity of supports, motivations,
suppressed freedom—comes to a realization that in the course of our individual existence we
cannot always rely on the other people. The following lines from the lyrical content provide
support to the assumption:

I decided long ago never to walk in anyone's shadows 12

If I fail, if I succeed 13
At least I'll live as I believe 14
No matter what they take from me 15
They can't take away my dignity 16
(Stanza 3, lines 12, 13, 14, 15, and
16)

Line 12 of the 3rd stanza is such a strong statement that it invalidates another statement about
human existence, that “no man is an island”.

Moreover, the universal viewpoint of the “I” goes to its applicability to almost everyone who
is being met with the same realization:

“I never found anyone who fulfilled my needs”

“I decided long ago never to walk in anyone's shadows”
“If I fail, if I succeed”
“At least I'll live as I believe”

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 Analytical Paper | Shahaji, N.A

(Stanza 2, line 9; stanza 3, lines 12, 13 and 14; stanza 4, line 18, respectively)

“I” as illustrative subterfuge

Interestingly, the “I” point of view serves as an illustrative subterfuge as it leads the
reader to believing that the persona refers only to a woman who, after having surmounted
challenges, becomes independent, well-grounded, very self-aware and one who believes that
self-love is the greatest love of all. In another case, the expression of “youth” is quite apparent
in the lyrical content, which certainly qualifies as another subterfuge. Following are the said
lines:

“I believe the children are our future” 1

“Teach them well and let them lead the way” 2
“Show them all the beauty they possess inside” 3
“Give them a sense of pride” 4

The mentioned lines (from stanza 1) appear to be slanting from the totality of lyrical
content, and that therefore make it a subterfuge. Though at one point, it may also suggest
transitions and the overcoming of suppression at an early point of existence; however, it does
not necessarily guarantee the later, but favors the former in the course of this analysis.

Figurative representation: woman, youth, and everything?

As has been noted, the lyrical content of the song suggests some figurative devices
which, along with the said illustrative subterfuge, come together in the determination of the
persona of the song. Prevailing figurative language in this song is metaphor: “The greatest
love of all is easy to achieve”, “I believe the children are our future”, “Everybody searching
for a hero”, and “Never to walk in anyone’s shadow” (Stanza 5, line 19; stanza 1, line 1; stanza
2, line 7; stanza 3, line 12, respectively.)

The figurative representations mentioned do not necessarily denote an independent

woman nor the youth alone. It, in any case or in any ways, supports the contention that the
persona of the song refers to everyone who has experienced the realization which is central to
the song itself.

Conclusion

On the whole, songs are creative pieces of literature of which, words are carefully
chosen, arranged, and knitted to put across something that touches lives.

In this song analysis (the Greatest Love of All), the persona of the song refers to every
individual who, in one way or another, experienced the consummation brought about by life’s
unpredictable sail. The contention is being put forward on the basis of the two frames of
reference used, which are the illustrative subterfuge and the figurative representation, into
the scrutiny of the lyrical content.

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