INSIDE OF THE METAPHOR IN ANNE SEXTON’S

POEMS: ANALYSIS AND INTENTION OF THE

METAPHOR

A PAPER PROPOSAL

Presented to Universitas Bina Sarana Informatika

In Partial Fulfilment of the Requirements for Bachelor Degree

By:

Diyah Feronika

33190154

Program Studi Sastra Inggris

Fakultas Komunikasi dan Bahasa

Universitas Bina Sarana Informatika

Jakarta

2021
 PREFACE

This project would not have been possible without the support of many

people. Ms. Yanti Rosalinah has been an ideal teacher, mentor, and thesis

supervisor, offering advice and encouragement with a perfect blend of insight and

humour. I am so thankful for this semester I still could get direction from her.

And I would like to thank my parents, my family, who have always been

supporting me through this tough time and keeping me on my feet. They are the

greatest power I have ever had. I am so grateful to have them along my side.

I also would like to thank my classmates, Mutiara and Siti Fatimah, as my

mental and moral support. They have been great friends and colleagues. They also

helped me in and out of the class hours. They are also open to any kind of

discussion, guide me through any kind of difficulties, and I am sure it would be

hard not having them beside me during this semester.

And as my entertainer through this tiring weeks, I would like to thank Eddy

Chen and Brett Yang from Twoset Violin, Ryan Bergara and Shane Madej from

BuzzFeed Unsolved Network, and Seventeen from Pledis Entertainment for

bringing joy and laugh from day to day with the contents they have. They lift my

mood, and it helps me to pass each day.

Lastly, I would like to thank myself as I can make it until this day and finish

this imperfect work.

 TABLE OF CONTENTS

Title Sheet

Preface

Table of Contents

CHAPTER I INTRODUCTION

1.1. Background of Research

1.2. Scope and Limitation

1.3. Statement of the Problem

1.4. Goal and Function

1.5. Research Method

1.6. Systematical Presentation

CHAPTER II THEORETICAL FRAMEWORK

2.1. The Definition of Linguistics

2.2. The Definition of Literature

2.2.1. Poetry

2.3. The Definition of Figurative Language

2.3.1. Metaphor

CHAPTER III DISCUSSION

3.1. Findings

3.2. Types of Conceptual Metaphor

3.3. Types of Conceptual Metaphors

BIBLIOGRAPHY
 CHAPTER I

INTRODUCTION

1.1. Background of Research

Generally speaking, linguistics is the scientific study of language. It

examines every facet of language, as well as the tools for analysing and

modelling it, as well as the meaning of the world's 6,000 or more languages.

Phonetics, phonology, morphology, syntax, semantics, and pragmatics are all

classic aspects of language analysis. Sounds (and gesture, in the case of signed

languages), minimum units (words, morphemes), phrases and sentences, and

meaning and usage are all approximately corresponding to phenomena observed

in human linguistic systems.

Linguistics is the study of language as a scientific topic in literature. In

literature, language is utilized as a medium to create works of art. The

comparative and historical study of literature examines these works of art both

as pure aesthetic creations and in terms of their broader societal and cultural

effect across time.

The term "literature" refers to written works. Literature is a means of

expressing oneself, and the term is used to describe prose, lyrics, poetry, and

any kind of written works that have an aesthetic value. Some of the systems
used to categorize literature include language, national origin, historical time,

genre, and topic matter.

Figurative language is terminology that conveys a message or point by

going beyond the literal meaning of words. The term originates from the Old

French word "figuratif", which means "metaphorical". It was first used in the

mid-nineteenth century. The primary purpose of figurative language is to

convey the author's point. It might be as simple as translating a foreign topic

into everyday language or creating vivid and emotional visuals. Some varieties

have purposes other than producing pictures, such as providing rhythm and

harmony to words.

A metaphor is one of some figures of speeches that explicitly alludes to

one thing by referencing another for rhetorical effect. It may clarify (or confuse)

a situation or reveal hidden commonalities between two concepts. Antithesis,

hyperbole, metonymy, and mostly simile are all examples of figurative

language that are sometimes related to metaphors.

When someone wants to analyse, to know the meaning of literary works,

suppose a poem, the first thing they should do is attentively study the title. The

title should provide the analysers with some insight into the poem's subject,

tone, or genre. Word choice may also reveal a lot about poetry. A poem's

fundamental idea is frequently communicated by referring to the same subject

in a variety of ways. Figurative language, such as similes, metaphors,

personification, and symbols, is frequently applied to establish aesthetic

comparisons between two unrelated items with shared traits, as well as to

highlight certain elements of a subject or give readers fresh insights on it.

Meaning (as in this case; intention, expression, and purpose of a word or

phrases) is also an important aspect to focus on analysing poems. Meaning is

best explored as a linguistic phenomenon in and of itself, rather than as

something "outside of language". This implies that we look at what it means to

'know a language' semantically, for example, what is involved in identifying

meaning connections between phrases and determining which sentences are

meaningful and which are not (Leech, 1985). Leech (1985) also says that there

are types of meaning that can be broken down into seven different ingredients,

namely: conceptual meaning, connotative meaning, social and affective

meaning, reflected and collocative meaning, associative meaning, thematic

meaning, and associative meaning. While, Alburey Castell (1949) in the journal

Meanings: Emotive, Descriptive, and Critical says that ‘meanings’ are

recognized into three suggestions, namely: emotive meaning, descriptive

meaning, and critical meaning.

Anne Sexton (1928–1974) was an American poet who is best known for

her confessional poems which use numbers of metaphors and emotive lexicon.

She started her writing career after her long-term therapist, Dr. Martin Orne,

encouraged her to write poetry in the middle of 1955, subsequent to her episodes

of postpartum depression and suicide attempts. The themes of most of her works

include her long battle with depression, suicide tendencies, death, and a will to

die. Her strong language combined with her strong subject matter led her to win
 the Pulitzer Prize for her book, Live or Die, in 1967 (Middlebrook, 1992). Her

poems such as Sylvia’s Death, Wanting to Die, Cinderella, Suicide Note, Her

Kind etc. are some examples of her confessional poems that represented her

state in this mortal life.

Therefore, in this paper, the writer is interested in analysing the meaning

and intention of literature work, in this case, Anne Sexton’s poem, through its

metaphor, and to understand how the language she uses represents her emotions.

Sexton uses so many lexemes, emotive lexicon, metaphors, to describe

sensations, experiences, perceptions, and her emotions, and this is worth

studying further to understand her way to narrate her emotions into her poems.

The approach using this metaphor analysis is based on George Lakoff and Mark

Johnson’s book, METAPHORS We Live By (1980), where the authors explain

the types and the systematic of metaphor. This metaphors will show eight basic

emotions of human beings (anger, fear, anticipation, trust, surprise, sadness, joy,

and disgust), and also two sentiments, which are negative and positive.

1.2. Scope and Limitation

The study of this analysis limits its investigating, analysing and

determining the meaning and intention behind the metaphor that Anne Sexton

uses in her poems.

1.3. Statement of the problem

In this paper, the writer wants to know more about the way Anne

expresses herself through metaphors in her poems. Therefore, the writer has

listed the statement of the problems in the following questions:

 1. What is the intention or the meaning behind the metaphor in Anne

Sexton’s poems?

2. What kinds of metaphors are found in Anne Sexton's poems?

1.4. Goal and Function

Through this paper, the writer wants to gain an understanding of the

meaning of Anne Sexton’s poems through the metaphor. The aims are to know

the meanings, definitions, and senses of the poems.

The function of this thesis paper will be described in the list below:

1. Knowing the meaning of the metaphor in Anne Sexton’s poems.

2. Deepen the understanding of the meaning of a word or phrase.

3. Deepen the understanding of metaphor.

4. Knowing the kinds of metaphors.

5. Understanding how emotions work in literary works.

1.5. Research Methods

This paper uses descriptive and qualitative methods. The methods are to

collect the necessary data through the internet, in journals and eBooks.

Qualitative observation does not use numbers or survey calculations. Instead, it

is just observing and monitoring the data and characteristics. Qualitative

methods are often used because the methods show how the subject is being

observed. The evaluation will focus on the subject of the observation, on what

happened, to whom, when and whether there will be a consequence (MQ Patton,

2014).

1.6. Systematical Presentation

 The first procedure in this research is conducted by observing the

definition of conceptual metaphor and deepening the understanding on types of

conceptual metaphor by George Lakoff and Mark Johnson’s book,

METAPHORS We Live By (1980). After that, the writer will examine the

metaphor in Anne Sexton’s poems, namely about the conceptual metaphor and

the three types of it, and analyse the meaning of each metaphor. The last

procedure is concluding the research about the analysing the meaning of the

metaphor on Anne Sexton’s poems.

 CHAPTER II

THEORETICAL FRAMEWORK

This chapter discusses the review of literature and the research methods

which provide theories that are related to the analysis. Also this chapter consists of

some previous studies from experts regarding the object of analysis of metaphor in

poems, especially Anne Sexton’s poems.

2.1. The Definition of Linguistics

Linguistics is the scientific study of human language. The term was

initially used in the mid-nineteenth century to distinguish between a newer

approach to language study that was growing at the time and the more

traditional approach of philology (the study of the history of language, including

the historical study of literary texts). A linguist is a scientist who examines the

structure of language, or how speakers construct meaning through combinations

of sounds, words, and sentences that eventually result in texts (extended

stretches of language, for example a conversation between friends, a speech, an

article in a newspaper) (Meyer, 2009).

Theoretical linguistics or generative linguistics, descriptive linguistics,

historical linguistics, anthropological linguistics, dialectology, and so on are all

subfields of linguistics. Fromkin (2000)'s book "Linguistics: An Introduction to

Linguistic Theory" focuses on contemporary linguistic theory, or theoretical

linguistics, which tries to explain the nature and structure of all human
 languages. When attempting to understand the nature of language, it is

necessary to distinguish between linguistic competence and linguistic

performance. Our language knowledge interacts with non-linguistic

information in performance, and is impacted by a variety of elements such as

short-term memory, other psychological processes, and pragmatic knowledge,

among others (Fromkin, et al., 2000).

It can be said that linguistics investigates language phenomena in a variety

of methods and from various viewpoints. The goal of theoretical linguistics

(which includes classical descriptive linguistics) is to create models of these

systems, their components (ontologies), and their combinations. In the other

fields of linguistics such as psycholinguistics, it develops ideas to explain how

all of these events are processed and produced. These phenomena can be studied

synchronously or diachronically (over time), in monolinguals or polyglots, in

children or adults, as abstract objects or as embodied cognitive structures, using

texts (corpora) or experimental elicitation, mechanically gathering data,

fieldwork, or introspective judgment tasks. Theoretical constructs are used in

computational linguistics to parse or synthesize natural language or

homologues. Neurolinguistics is a branch of psychology that studies linguistic

phenomena using real-life brain reactions to language stimuli.

2.2. The Definition of Literature

Literature is an imaginative work that contains aesthetic values (beauty)

in it. Literature presents various forms of the story interesting for all readers to

enjoy. In general, literature is a beautiful work both written and oral (Prillia and

Celine, 2019).
 According to Cahyaningrum Dewojati in his e-book titled Sastra Populer

Indonesia (2015, pg. 4):

Concerning the social world, the definition of literature has

developed. In this case, literature is not only understood as
a fictional and imaginative work that is an individual
subjective expression, but there are social relations.

In this book, Dewojati explains how literature (especially novels)

emerged, its development and its journey from the romantic to the modern era.

Jim Mayer (1997) says that literature has two different approaches to its

definition: criterial and prototypical. The criteria approach attempts to provide

all the criteria for written work to be called literature. The prototypical approach

focus on particular examples which suggested that the work can be called

literature, such as (1) written text; (2) are marked by careful use of language,

including metaphors, elegant syntax, well-turned phrases, alliteration and

meter; (3) are in literary genre (poetry, prose, fiction, or drama); (4) are read

aesthetically; (5) are intended by the author to be read aesthetically; (6) contain

many weak implicates, and are deliberately somewhat open in interpretation.

Literature is a means of expressing oneself. In general, there are two major

forms of literature: fiction and nonfiction. Fiction is any creative work,

primarily a narrative work that depicts people, events, or locations in fictional

ways that are not strictly based on historical or factual occurrences. Fiction, in

its most restricted sense, refers to written narratives in prose, most typically

novels. While nonfiction is any document or media item that aims to convey

just the truth and accuracy of facts, events, or individuals. Non-fiction genres

such as biography, diaries, memoir, correspondence, and essays can all be

 considered part of literature as an art form. Nonfictional books, articles, and

other printed information about a particular subject are included in the wide

definition of literature.

It can be said that literary work is imaginative or fictional, and

nonfictional work in the form of oral, written or act that contains beauty and

meaning. Literature is not only a product of personal expression, it can also be

a product of social ideas. Literature is the creative use of words, which, in the

context of broad linguistic description, can be associated with the use of

unconventional or deviant forms of language (Leech, 2013).

2.2.1. Poetry

As said before, literature is a work of imaginative or fictional and

nonfictional that contains beauty and meaning, and poetry is one of many

types of literature that can be either fictional or nonfictional, but still manage

to contain beauty and meaning within it. It's possible for poetry to be

philosophical, emotive, or sentimental. In a descriptive mode, it can paint

pictures, and in a narrative mode, it can tell stories. Poetry might be

sarcastic, humorous, political, or just instructive (Wolosky, 2001).

People can see the shape of language, cognition, and feeling in poetry

(Steinbergh, 1999). Poetry is a style of writing that uses words to provoke a

concentrated imaginative awareness of experience or a specific emotional

response through the use of material that has been carefully selected and

ordered for its meaning, tone, and rhythm. Ambiguity, symbolism, irony,

and other stylistic characteristics of poetic language sometimes also lead to

different interpretations of a poem.

 Poetry may be classified as a literary genre by distinguishing itself

from the narrative prose fiction and drama or play genres (Furniss and Bath,

2007). Poetry is a style of writing that expresses a notion, portrays a scene,

or recounts a tale in a focused, lyrical arrangement of words, as opposed to

prose, which is written or spoken language that often demonstrates a natural

flow of speech and grammatical structure. Rhyming lines and meter, the

rhythm and emphasis of a line based on syllabic beats, can be used to

organize poems. Poems can also be freeform, meaning they have no specific

structure.

2.3. The definition of Figurative Language

Simply say, figurative language is the use of words in a way that diverges

from the literal pattern and meaning to express another complex meaning,

colourful writing, clarity, or an emotive contrast. It uses simple language to

suggest something without explicitly declaring it. Katz, Cacciari, Gibbs and

Turner (1998) says that in figurative language, the creative interaction of words

and ideas is particularly visible. Because such language is free (not limited),

people use it all the time and does not only apply to poetic conditions.

Colston (2015), he has more or less the same opinion as the opinion above,

that language is vital because it occurs amongst highly social beings with

various additional interaction systems connecting them. People not only

communicate to one another, but also emote, empathize, love, hate, disregard,

resist, align, cleave, attract, and repel one another using methods that predate

and parallel language communion. It means that, figurative language inside the

language itself is not just to share information among the people as the social
 structure. But rather, as a packed performance, display, and propaganda system

that orients speakers and hearers within the complex social systems where they

live, at times raising and at times degrading a person's social status.

It can be concluded that, by connecting the senses and the actual to the

abstract ideas, figurative language makes parallels. For example, simile,

metaphor, personification, hyperbole, idiom, and onomatopoeia, words or

phrases are used in a non-literal way to achieve a certain effect. Sometimes

figurative language is called literary devices, or lexical stylistic devices; both

have the same definition and functions. This kind of language is mostly used in

literary works to strengthen the language and to expand the meanings within.

2.3.1. Metaphor

To begin, metaphors and similes (analogies) are literary devices that

are used to create comparisons in speech and writing. Although the two

tactics are quite similar—both serve the same aim of figuratively (non-

literally) comparing two different things—metaphors and similes are not the

same. A simile is a metaphor in which the words "as" or "like" are used to

establish a comparison between two objects. Metaphors, on the other hand,

do not use the terms "as" or "like."

A metaphor is a figure of speech that uses direct comparisons to make

a rhetorical point. One of the most well-known metaphors in the English

language is also a good example of this method. In his play ‘As You Like It’,

William Shakespeare writes: “All the world’s a stage, And all the men and

women merely players.” This expression means that the world is like a stage

play, and that all humans are only performers.

 Metaphor is often assumed to be a linguistic phenomenon, involving

just words rather than cognition or action. That metaphor, on the other hand,

is prevalent in everyday life, not just in language but also in thought and

action (Lakoff and Johnson, 1980). Zoltán Kövecses (2002) gives some

example phrases that picture the concept of life such as:

He’s without direction in life.

I’m where I want to be in life.

I’m at a crossroads in my life.

She’ll go places in life.

He’s never let anyone get in his way.

She’s gone through a lot in life.

Most English speakers would consider this method of speaking about

life to be common and natural in everyday life. Given these instances, it

appears that English speakers frequently use the domain of “journey” to

consider the very abstract and elusive idea of life.

Metaphor, according to the cognitive linguistic perspective, is

described as the understanding of one conceptual area in terms of another.

There are two conceptual realms in conceptual metaphor, one of which is

understood in terms of the other. Any coherent organization of experience

is referred to as a conceptual domain. The two domains used in conceptual

metaphor have their own names: (1) source domain: the conceptual domain

from which metaphorical expressions are based (e.g., love is a journey); (2)

target domain: the conceptual domain that we are attempting to comprehend

(e.g., love is a journey). This is called mapping.

 As based on Lakoff and Johnson (1980, 2003), there are three types

of conceptual metaphor: structural metaphor, orientational metaphor, and

ontological metaphor.

The word "structural metaphor" refers to an idea that is figuratively

arranged within another term. A structural metaphor is a metaphorical

system in which one complicated (usually abstract) subject is described in

terms of another (usually more concrete or physical) concept. Lakoff and

Johnson (1980) give example “argument is war” which can be expressed in

variety of ways:

Your claims are indefensible.

He attacked every weak point in my argument.

His criticisms were right on target.

I demolished his argument

It can be noticed in this metaphor that the idea of argument is viewed

in terms of “war”, or physical confrontation. When humans desire

something, they use verbal arguments rather than physical fighting to

acquire it. As a result, verbal conflicts are understood in the same way that

physical confrontations are.

The term "orientational metaphor" refers to the process of structuring

a system of concepts that are related to one another, as well as spatial

orientations such as up-down, in-out, front-back, and so on. These spatial

orientations are the result of the fact that we have bodies of the kind we do

and that they function in our physical surroundings as they do (Lakoff and
Johnson, 1980). For example, people would say “up” as meaning “happy”,

and “down” as meaning “sad”.

Ontological metaphor is a metaphor that is based on how people see

events, actions, emotions, and ideas as physical objects, substances,

containers, or people. In addition, the ontological metaphor includes

personification and metonymy. Personification helps us to understand what

nonhuman beings go through when they experience human intentions,

features, and behaviours. Likewise, we will use metonymy to refer to

another entity that is linked to it (Lakoff and Johnson, 1980).

 CHAPTER III

DISCUSSION

3.1. Findings

This chapter explains the analysis and discussion to solve the research

questions in Chapter I. The Conceptual Metaphor Theory suggested by Lakoff

and Johnson (1980), as well as metaphorical mapping to determine the meaning

of the metaphorical expression, will be used to identify the forms of conceptual

metaphor used in the selected poems. The material is derived from the eBook

The Complete Poems: Anne Sexton, namely “Sylvia’s Death” poem, and it

consists of phrases using metaphorical expressions.

3.2. Sylvia’s Death by Anne Sexton for Sylvia Plath

O Sylvia, Sylvia,

with a dead box of stones and spoons,

with two children, two meteors

wandering loose in the tiny playroom,

with your mouth into the sheet,

into the roofbeam, into the dumb prayer,

(Sylvia, Sylvia,

where did you go

after you wrote me

from Devonshire

about raising potatoes

and keeping bees?)

what did you stand by,

just how did you lie down into?

Thief! —

how did you crawl into,

crawl down alone

into the death I wanted so badly and for so long,

the death we said we both outgrew,

the one we wore on our skinny breasts,

the one we talked of so often each time

we downed three extra dry martinis in Boston,

the death that talked of analysts and cures,

the death that talked like brides with plots,

the death we drank to,

the motives and then the quiet deed?

(In Boston
the dying

ride in cabs,

yes death again,

that ride home

with our boy.)

O Sylvia, I remember the sleepy drummer

who beat on our eyes with an old story,

how we wanted to let him come

like a sadist or a New York fairy

to do his job,

a necessity, a window in a wall or a crib,

and since that time he waited

under our heart, our cupboard,

and I see now that we store him up

year after year, old suicides

and I know at the news of your death,

a terrible taste for it, like salt.

(And me,

me too.
And now, Sylvia,

you again

with death again,

that ride home

with our boy.)

And I say only

with my arms stretched out into that stone place,

what is your death

but an old belonging,

a mole that fell out

of one of your poems?

(O friend,

while the moon's bad,

and the king's gone,

and the queen's at her wit's end

the bar fly ought to sing!)

O tiny mother,

you too!

O funny duchess!
 O blonde thing!

February 17,196

3.3. Types of Conceptual Metaphor

Lakoff and Johnson (1980) divided the conceptual metaphor into three

types of conceptual metaphor: structural metaphor, orientational metaphor, and

ontological metaphor. From the poem “Sylvia’s Death” by Anne Sexton, only

two types of conceptual metaphors are found: structural metaphor and

ontological metaphor. There are 11 cases of conceptual metaphor. These data

will be analysed based on the Conceptual Metaphor Theory based on Lakoff

and Johnson (1980). There are 7 cases of ontological metaphor and 6 cases of

structural metaphor.

Conceptual
No. Data Type
Metaphor

with two children, two meteors Meteors are

1. wandering loose in the tiny children in Ontological
playroom, playroom

the death that talked of analysts

2. Ontological
and cures, Death is a
the death that talked like brides talking entity
3. Ontological
with plots,

Death is an
4. the death we drank to, Structural
object

the dying Dying is a

5. Ontological
ride in cabs, moving object
 that ride home Suicide is an
6. Ontological
with our boy. entity

Death is a
7. I remember the sleepy drummer Structural
moving entity

Death is a

who beat on our eyes with an old moving entity, Ontological,

8.
story, Old story is an Structural
object

Death is an
9. how we wanted to let him come Structural
entity

and since that time he waited Death is a

10. Ontological
under our heart, moving entity

and I see now that we store him up Suicide is an

11. Structural
year after year, old suicides object

Sexton's writing of "Sylvia's Death" is regarded to have served as a

psychological and emotional release for her, supporting her in coming to terms

with the death of her friend. Sexton's longing for death and fight with despair

and housewives are reflected throughout the poem.

In the poem, in data number 1, Sexton describes Plath's house as dead,

constructed of stones, and full of spoons to feed her meteor-like children,

evoking lifeless, almost robotic vision of a household in the first stanzas (Madi

and Neimneh, 2015).

Sexton talks about the type of death desire she used to have with Plath,

and how the thought of it has taken over their health over the years. When

Sexton 'somehow' wanted to remind Plath of the death that they “talked of so
often each time/[they] downed three extra dry martinis in Boston… the death

[they] drank to,/the motives and the quiet deed?”. They allowed themselves to

be controlled by drinking, exposing the death wishes concealed deep inside their

unconscious, and despite the consequences they would face (Madi and

Neimneh, 2015).

Sexton refers to suicide as "our boy" throughout the poem, saying that his

"job" of killing them is "a necessity, a window in a wall or a crib". And through

the poem, Sexton describe death and suicide as a familiar entity that they met

before, and waiting for the death to come for them for the sadist end.

Lastly, “Sylvia's Death” follows the standard definition of a confessional

poetry. In Sylvia's Death, Anne Sexton deliberately constructs a narrator who

links and develops upon Sexton's ideas on not only death but suicide, drawing

on her experience coping with mental illness and depression, as well as her

discussions with Sylvia Plath. And although the data consist of just two kinds

of metaphors from the Conceptual Metaphor Theory, further analysis is

necessary to ensure that the poem is analysed perfectly and evenly.

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