Tài liệu A red red rose the romantic verses in a poetic discourse analysis

THAI NGUYEN UNIVERSITY SCHOOL OF FOREIGN LANGUAGES PHAM NGOC ANH “A RED RED ROSE”, THE ROMANTIC VERSES IN A POETIC DISCOURSE ANALYSIS. (“ A Red Red Rose”, những vần thơ lãng mạn dưới lăng kính phân tích diễn ngôn) M.A. THESIS Field: English Linguistics Code: 8220201 THAI NGUYEN - 2019 i THAI NGUYEN UNIVERSITY SCHOOL OF FOREIGN LANGUAGES PHAM NGOC ANH “A RED RED ROSE”, THE ROMANTIC VERSES IN A POETIC DISCOURSE ANALYSIS. (“ A Red Red Rose”, những vần thơ lãng mạn dưới lăng kính phân tích diễn ngôn) M.A. THESIS (APPLICATION ORIENTATION) Field: English Linguistics Code: 8220201 Supervisor: CAO DUY TRINH (Ph.D) THAI NGUYEN - 2019 ii DECLARATION I certify my authorship of the study report entitled: “A Red Red Rose”, the romantic verses in a poetic discourse analysis. In fulfillment of the requirements for the degree Master of Arts. Quang Ninh, September20 th2019 Trainee Pham Ngoc Anh This study was approved by: GV hướng dẫn ký i iii ACKNOWLEDGEMENTS I am deeply indebted to a number of people for helping me to make this M.A thesis possible. First and foremost, I would like to give thank to my supervisor Dr. Cao Duy Trinh who deserves much of the credit not only for encouraging, guiding and supporting me to finish this paper but also giving me mental support from the beginning to the end. Only for his hearty instructions that I could have completed my research paper on time. I would like to sincerely thank the anonymous participants who contributed data to this study. Without their outstanding cooperation, this thesis would not have been done. I would like to thank my family, especially my parents and my husband for their constant source of love, support and encouragement in times of difficulty and frustration. Finally, I would like to thank my readers for their interests and comments on this thesis. While I am deeply indebted to all these people for their help to the fulfillment of this thesis, I myself remain responsible for any inadequacies that are found in this work. ii iv ABSTRACT Different poets use different figurative words to make their poetry expressive and intensive so that it may draw the attention of the readers at once. The purpose of this analysis is to spotlight the implicature of this poem to the readers. This discourse analysis will find out the truths or purposes behind the written words. The poet has chosen ―The Red Rose‖ to compare with his dear lover and the rose, therefore, can be the symbol of his love with romance, purity and innocence. The poet has very artistically draws a picture of his profound love. He paints this picture with intense emotions. The speaker compares his beloved with ―a red rose‖ and ―sweet melody‖ to intensify his deep feelings for her. He addresses her, proclaiming that his love will stay still until the seas dry up and the rocks melt with the sun because his beloved is so adorable. For some reasons, he has to go far away from her, but he promises to return even if he has to travel thousands of miles to win her back. What enchants the reader is the metaphorical representation of love through natural namely the sea and the sun. iii v TABLE OF CONTENT CHAPTER 1: INTRODUCTION ........................................................................... 1 1.2. Aims of the study ............................................................................................. 3 1.3. Research question ............................................................................................ 3 1.4. Scope of the study ............................................................................................ 3 1.5. Design of the study .......................................................................................... 4 CHAPTER 2: LITERATURE REVIEW ................................................................ 6 2.1. Robert Burns .................................................................................................... 6 2.2. Poetry ............................................................................................................... 9 2.3. Discourse analysis .......................................................................................... 12 2.3.1. Discourse................................................................................................. 12 2.3.2. Significance of discourse in literature .................................................... 13 2.3.3. Discourse analysis .................................................................................. 14 2.4. "Conherence" and "Cohesion" ...................................................................... 17 2.5. Figurative Language....................................................................................... 19 2.5.1. Convey Meaning...................................................................................... 20 2.5.2. Promote a New Perspective .................................................................... 23 2.5.3. Similes ..................................................................................................... 23 2.5.4. Metaphor ................................................................................................. 27 2.6. Semantic analysis ........................................................................................... 30 2.7. Syntactic Analysis .......................................................................................... 31 2.8. Romance in poetry ......................................................................................... 33 2.9. Rose as symbol of love in poem .................................................................... 34 vi 2.10 Previousa studies ...................................................................................... 39 2.11. Some definitions ................................................................................... 40 2.11.1 Stylistics ............................................................................................. 40 2.11.2 Poetry………………………………………………………………….40 CHAPTER 3: METHODOLOGY ........................................................................ 44 3.1. Method of the study ....................................................................................... 44 3.2. Data collection instrument ............................................................................. 45 3.3. Data analytical method ................................................................................... 45 CHAPTER 4: FINDINGS AND DISCUSSIONS ................................................ 47 4.1. An introduction of ―A Red, Red Rose‖ .......................................................... 47 4.2. Literary features of ―A Red, Red Rose‖ ........................................................ 49 4.3. Discourse analysis of ―A Red, Red Rose‖ ..................................................... 51 4.3.1. First Stanza ............................................................................................. 53 4.3.2.Second Stanza........................................................................................... 53 4.3.3. Third Stanza ............................................................................................ 54 4.3.4. Fourth Stanza .......................................................................................... 54 4.4. Summary ........................................................................................................ 55 CHAPTER 5: CONCLUSION ............................................................................. 57 5.1 Conclusion....................................................................................................... 57 5.2. Limitations ..................................................................................................... 61 5.3. Suggestions for the further studies ................................................................. 61 REFERENCE ........................................................................................................ 63 vii CHAPTER 1: INTRODUCTION 1.1. Rationale Literature has always been open to interpretation and the readers interpret it in order to put certain literary, political, critical and social ideas into practice. Language plays a fundamental role, for every artistic activity is prepared, accompanied, influenced and played by language. This paper analyzes discourse of literary writing, namely the ― Red Red Rose‖ by Robert Burns. Given the enormous stylistic and literary significance of the said poem, in times of critical turmoil, it is absurd to rely on one interpretation. The title of the poem and its overall significance is enhanced with the techniques of Discourse Analysis. The aim of this paper is to examine the strategies of discourse analysis and its literary and critical value. Discourse, as such, is a broad term with many a definition, which ―integrates a whole palette of meanings‖ (Titscher et al., 1998: 42), ranging from linguistics, through sociology, philosophy and other disciplines. For The purposes of this paper, the definition of discourse, based on Robert Burns‘ poem Red Red Rose and his general concept of discourse as text in context, seen as ―data that is liable for empirical analysis‖ is applied (Titscher et al., 1998: 44), with focus being put on discourse as action and process. From this, it follows that―discourse‖ is a wider term than ―text‖: ―I shall use the term discourse to refer to the whole process of social interaction of which a text is just a part‖ (Fairclough 1989: 24). Romantic poems will always go along with years and become eternal, especially English poems about love. Love has long become a familiar theme indispensable in poetry. The sweet poems contain the love that is the sincerest way to express the love that couples have for each other. It can be said that literary analysis is the first step in creating the pen in any field. Some of them have contributed to the training of the copywriter's pen much 1 richer, the rest more deeply express the characteristics of the perfect literary works to life. A Red Red Rose was first published in 1794 in A Selection of Scots Songs, edited by Peter Urbani. Robert Burns took the image of the red rose symbolizing the undying love in his poetry (Ruby and Milne, 2000). To describe the eternal nature of his love, the author uses metaphor in poetry, as well as centralized images of great love, as well as showing his love of romance and intensity, overcome barriers and obstacles of life. In the end, he wanted to let his woman know that his love never lost. In trying to quantify his feelings - and in searching for the perfect metaphor to describe the eternal nature of his love - the speaker inevitably comes up against love's greatest limitation, the sands o' life. This image of the hourglass forces the reader to reassess of the poem's first and loveliest image: A Red, Red Rose is itself an object of an hour, newly sprung only in June and afterward subject to the decay of time. A Red, Red Rose is a romantic poem about the author's undying love for her woman. The poem is a beautiful work that gives readers a lot of emotion and admiration for a beautiful and intense love. This treatment of time and beauty predicts the work of the later Romantic poets, who took Burns‘ work as an important influence. Thus, the topic ―A Red Red Rose‖ - The romance in a poem A discourse analysis‖ is very exciting to study. The most important figure of speech in this poem is the simile, which compares two different things using the words "like" or "as." In the first stanza, the speaker compares his love ("Luve") to a "red, red rose, / That's newly sprung in June." That is to say that his love is like the rose at its most vibrant state in summer, its "reddest" color (this is why the word "red" is repeated). As the rose is at its reddest color, his love is at its fullest feeling. The speaker uses another simile to compare his love to a melody that's played in tune. 2 1.2. Aims of the study The study aims to investigate the linguistic features in A Red, Red Rose in terms of non-figurative and figurative language and the romantic expressions to help learners of English further understand use of a discourse in poem. The research also shows the romance in the poem as well as in the style of poetry written by Robert Burns, whose poetics are innocent, so he also borrowed folk culture to create the depth of thought or thickness of the human experience in his works. 1.3. Research question 1.What are non-figurative and the romantic expressions used in A Red, Red Rose? 2.What are figurative languages and the romantic expressions used in A Red, Red Rose ? 1.4. Scope of the study The research is working out the romance in the poem A Red, Red Rose written by Robert Burns in 1794: O my Luve's like a red, red rose, That's newly sprung in June: O my Luve's like the melodie, That's sweetly play'd in tune. As fair art thou, my bonnie lass, So deep in luve am I; And I will luve thee still, my dear, Till a' the seas gang dry. Till a' the seas gang dry, my dear, 3 And the rocks melt wi' the sun; And I will luve thee still, my dear, While the sands o' life shall run. And fare-thee-weel, my only Luve! And fare-thee-weel, a while! And I will come again, my Luve, Tho' 'twere ten thousand mile!. In addition, the research is looking into the problems for the students. Firstly, lack of skills and knowledge for poem analysis, the student faced difficulties to understand poet‘s ideas. Secondly, the poem is very difficult to perceive normally because poetry is a form of art and art is meant to be non-linear. Poetry is inspired from life and life is complex. Therefore, poetry can be complex too. The same thing happens with poetry. Don't just read the lines, feel every word, ever sound, every image, and every emotion the poet tries to create. When readers do this even a difficult poem will seem crystal clear to them. Thus, it needs more skills to analyze a poem. 1.5. Design of the study The chapter 1 is introduction part in which rational and the aim of the study; moreover, scope of the study is presented. The chapter 2 is Literature review part in which the introduction to the author Robert Burns is presented first. Then, Figurative language including similes and metaphor is introduced. After that, semantic and syntactic analyses are studied. Finally, it is previous analytical. The chapter 3, the analyst presents research methodology. Firstly, some definitions are presented such as stylistics, poetry and descriptive analysis. At last, 4 Research procedure, Data collection instruments; data collection and Data analytical method are showed. The chapter 4, it is findings and discussion in which the findings presents syntactic and semantic (figurative language) features and the romance in the poem as well as in the style of poetry written by Robert Burns with deeply discussion. Findings show how to use the language in the author's poetry from which to see the expression of his love in very warm but strong words. Moreover, the findings also focus on analysis of figurative language including simile, metaphor,... especially, The romance in the style of poetry was presented specifically. Chapter 5 presents conclusion and recommendation of the study. In addition, limitation of the thesis and suggestions for further research are also given out. 5 CHAPTER 2: LITERATURE REVIEW This chapter critically reviews the literatures relating to the poem and poet which is selected as the sample in this current study. Firstly, the researcher presents bibliography of Robert Burns as the writer of A Red, Red Rose. Then such theoretical fundamentals related to poetry, discourse analysis and romance in poetry is explored to develop the foundation for the analysis. 2.1. Robert Burns Robert Burns (25 January 1759 – 21 July 1796) is a Scottish poet and lyricist. He is one of the most famous poets of Scotland and is widely regarded as a Scottish national poet. Being considered as a pioneer of the Romantic Movement, Robert Burns became a great source of inspiration to the founders of both liberalism and socialism after his death. Most of his world-renowned works are written in a Scots dialect. And in the meantime, he produced a lot of poems in English. Robert Burns also known familiarly as Rabbie Burns, theNationalBard,Bard of Ayrshire and the Ploughman Poet and various other names andepithets (O'Hagan, A: "The People's Poet", The Guardian, 19 January 2008),was a Scottish poet and lyricist. He is widely regarded as the national poet of Scotland and is celebrated worldwide. He is the best known of the poets who have written in the Scots language, although much of his writing is also in English and a light Scots dialect, accessible to an audience beyond Scotland. He also wrote in standard English, and in these writings his political or civil commentary is often at its bluntest. He was born in a peasant‘s clay-built cottage, south of Ayr, in Alloway, South Ayrshire, Scotland in 1759 His father, William Burnes (1721–1784), is a selfeducated tenant farmer from Dunnottar in the Mearns, and his mother, Agnes Broun (1732–1820), is the daughter of a Kirkoswald tenant farmer.Despite the poor soil and a heavy rent, his father still devoted his whole life to plough the land to support the whole family‘s livelihood. As the eldest son in this seven-child family, Burns tried his best to help his father in youth. The severe manual labor of the farm 6 harmed his health and constitution. Under this condition, his father still attached great importance to education, hiring a teacher for him and teaching his children himself. Burns had acquired theological knowledge and grammar with little regular schooling. Besides, he read a lot on foreign literature. He was also taught by John Murdoch (1747–1824), who had an "adventure school" in Alloway in 1763 and taught Latin, French, and mathematics to him from 1765 to 1768. Then years later, Burnswent to Dalrymple Parish School in mid1772. Then after a full-time farm laboring at harvest time at 1773, he was sent to lodge with Murdoch for three weeks to study French and Latin. During the harvest of 1774, he was assisted by Nelly Kilpatrick (1759– 1820), who inspired his first attempt at poetry, "O, Once I Lov'd A Bonnie Lass". In 1775, he was sent to finish his education with a tutor at Kirkoswald, where he met Peggy Thompson (born 1762), to whom he wrote two songs,"Now Westlin' Winds" and "I Dream'd I Lay". He has written his poems in his notebook and added comments on his poems. At the same time, he was greatly interested in sectarian politics, supporting liberalism and opposing orthodox Calvinism. In 1777, Burnes led his family moved again to Lochlea, near Tarbolton but they were still in poor condition. After William Burnes's death in 1784, his family became integrated into the community of Tarbolton. At that time, Robert joined a country dancing school in 1779 and formed the Tarbolton Bachelors' Club later with his brother Gilbert. There he met Alison Begbie (b. 1762) and written four songs for her. Burns fell in love with a woman named Jean Armour and then she became pregnant with twins in March 1786. Burns signed a paper attesting his marriage to Jean, but her parents forbade it. Still they were eventually married in 1788. Armour bore him nine children, only three survived infancy. Due to financial difficulties, Burns took up an offer of work in Jamaica to be a "book keeper"(assistant overseer of slaves). Six years later he wrote "The Slave's Lament" which demonstrated his egalitarian views. 7 At about the same time, Burns fell in love with Mary Campbell (1763–1786). He dedicated the poems "The Highland Lassie O", "Highland Mary", and "To Mary in Heaven" to her. His song "Willye go to the Indies, my Mary, and leave auld Scotia's shore?" suggests that they planned to emigrate to Jamaica together. It has been suggested that on 14 May 1786 they exchanged Bibles and plighted their troth over the Water of Fail in a traditional form of marriage. But soon afterwards Mary left her work in Ayrshire and sailed home in Campbeltown. In October 1786, Mary and her father went to visit her brother in Greenock who fell ill with typhus. While nursing him, Mary caught it, too. She died of typhus on October 1786 and was buried in Greenock. On 31 July 1786 Robert Burns published his volume of works Poems, Chiefly in the Scottish dialect. Known as the Kilmarnock volume, it contained much of his best writing, including "The Twa Dogs", "Address to the Deil", "Halloween", "The Cotter's Saturday Night", "To a Mouse", "Epitaph For James Smith", and "To a Mountain Daisy". These works were so successful and soon he was known across the country. On 4 September Burns received a letter from Thomas Blacklock who expressed his admiration for the poetry in the Kilmarnock volume, and was suggested an enlarged second edition in Edinburgh.Over there, his first Edinburgh edition of Poems, Chiefly in the Scottish dialect was published on 17April 1787. He was warmly welcomed and made the acquaintance of many famous people, one of which was James Johnson, a struggling music engraver and music seller. Burns contributed many songs to his volume The Scots Musical Museum. Burns had alienated many of his friends by freely expressing sympathy with the French and American Revolutions and the advocates of reform and votes for all men. Burns joined the Royal Dumfries Volunteers in March 1795 in an attempt to prove his loyalty to the Crown. Many early biographers who studied Burns believed that excessive drinking and debauchery led to his early death. 8 Near the age of 40, Burns suffered from rheumatic fever then it worsened to a serious and fatal heart disease. He was buried in Dumfries Cemetery after his death in 1796. His friends helped support his family by subscribing to his published collection of poems. Burns was a pioneer of Romanticism in the 18th century. He is a prolific writer who has created more than 600 poems in his life, many of which are expressed in the form of singing, mainly exalting the simple feelings of the common people and expressing his deep sympathy for the suffering of the people at the other end of the society. Burns' poetry was deeply influenced by the Classical, Biblical, and English literature. He was not only good at writing in the Scots language but also in the Scottish English dialect of the English Language. Some of his works, such as "Love and Liberty" (also known as "The Jolly Beggars"), are written in both Scots and English for various effects. His works are mostly lyric poems, such as A Red, Red Rose praising people‘s love, "Scots, Wha Hae" expressing patriotism and so on. He also wrote many satirical poems, such as "Holy Willie's Prayer", and narrative poems, "The Two Dogs" and "The Jolly Beggars". His world-famous poem"Auld Lang Syne" is written in Scots language and now is used to bid farewell to the old year at the stroke of midnight on New Year's Eve. Burns also claims to freely pursue wine, women, poetry and songs. His creation has many styles, but mainly is marked by spontaneity, directness, and sincerity. This essay mainly talks about his views and feelings on love from the poem A Red, Red Rose. 2.2. Poetry ―Poetry is the most intense, most highly charged, most artful and complex form of language we have ... long associated with the distant origins of music, dance, and religious ritual in early human cultures‖ (Grossman 2010:7). The 9 Concise Oxford Dictionary defines a poem as ―a literary composition that is given intensity by particular attention to diction (sometimes involving rhyme), rhythm, and imagery.‖ One might wonder about the accuracy, or specificity of this definition, especially when considering some moving oration, e.g., a sermon, that may well manifest all three characteristics—elaborate diction, a certain rhythmic cadence, and imagery—to a noticeable degree (is such an effective sermon an instance of poetry?). The preceding notions may be specified like this: ―Poetic language [exhibits]...form, style, structure, and contents of cultivated verbal articulation‖ that together signify ―higher levels of organization and meaning‖ (Gerstenberger, 2014:27). Poetry is artistically embellished, typically condensed discourse that appeals to the sense of sound. The following, more focused perspective points to a crucial distinctive feature of most poetic traditions in the world: "As soon as we perceive that a verbal sequence has a sustained rhythm, that it is formally structured according to a continuously operating principle of organization...we are in the presence of poetry and we respond to it accordingly, expecting certain effects from it and not others" (Spicehandler et al., 2012:601). Thus poetry involves some type of sustained rhythmic principle that is manifested in measured line-forms as well as in recurrent patterns of larger formal and/or thematic organization. Note also that poetic forms elicit a particular kind of cognitive and emotive response. ―Poetry is the sound of language organized in lines,... [and] poems are poems because we want to listen to them‖ (Longenbach, 2008:120). As for most languages, the concept of poetry is culturally-defined, and there are no sharply drawn diagnostic boundaries to distinguish such discourse from prose. The different concentrations of linguistic (or literary) features found within a given text must be evaluated in terms of their relative frequency of occurrence, diversity, density, or syntactic position, on the one hand, and with respect to the quality and intensity of their rhetorical effect upon an assumed implied audience, on the other. These range from those that are more, to those that are less poetic (or more prosaic), as determined on the basis of a complex bundle of interrelated stylistic qualities: 10 Thus, every text must be analyzed and assessed on its own terms with regard to its complement of stylistic features and discourse. Finally, it may be noted that, after all, the point of any biblical text study is not simply to determine its formal status - whether prose, poetry, or something in-between - but rather to ascertain how its constituent linguistic-literary characteristics actually function, both individually and together in context, to convey meaning, that is, semantic content, functional intent, pragmatic implication, structural form (e.g., acrostic poetry), and so forth. In addition to the use of a set of heuristic analytical criteria such as the following, a good deal of scholarly intuition is also involved in any description and interpretation of the posited relationship between form and function in literary texts, especially where more poetic discourse is concerned. A poem is a work of literature that uses the sounds and rhythms of a language to evoke deeper significance than the literal meanings of the words. There are numerous literary devices that may be found in any given poem, such as meter, rhyme, rhythm, symbolism, imagery, repetition, consonance, assonance, alliteration, enjambment, and so on. Furthermore, there are a number of different ways to classify a poem, such as analyzing its meter or finding it to be either blank verse or free verse. There are also many different recognized forms in which a poem may be written, such as a sonnet, haiku, sestina, villanelle, limerick, ode, ghazal, etc. There is a wide variety of written works which qualify as poems, and thus it can be difficult to say exactly what a poem ―is‖ or what it does. However, most people do not struggle to identify that an example of a poem is, indeed, a poem. There are certain conventions in poetry that distinguish it, especially the visual look of a poem upon a page with its lines that form stanzas rather than paragraphs (though there is a recent genre in poetry called prose poetry, which mixes these two forms). 11 Cultures from around the world and throughout generations have generated poetry for many different purposes. There are religious scriptures which are written as poetry, poems that are meant to convey profound yet secular truths about the world, and light poetry which is meant to be humorous. 2.3. Discourse analysis 2.3.1. Discourse Discourse is any written or spoken communication. Discourse can also be described as the expression of thought through language. While discourse can refer to the smallest act of communication, the analysis can be quite complex. Several scholars in many different disciplines have theorized about the different types and functions of discourse. Discourse analysis is sometimes defined as the analysis of language 'beyond the sentence'. This contrasts with types of analysis more typical of modern linguistics, which are chiefly concerned with the study of grammar: the study of smaller bits of language, such as sounds (phonetics and phonology), parts of words (morphology), meaning (semantics), and the order of words in sentences (syntax). Discourse analysts study larger chunks of language as they flow together. Some discourse analysts consider the larger discourse context in order to understand how it affects the meaning of the sentence. For example, Charles Fillmore points out that two sentences taken together as a single discourse can have meanings different from each one taken separately. To illustrate, he asks you to imagine two independent signs at a swimming pool: "Please use the toilet, not the pool," says one. The other announces, "Pool for members only." If you regard each sign independently, they seem quite reasonable. But taking them together as a single discourse makes you go back and revise your interpretation of the first sentence after you've read the second. While every act of communication can count as an example of discourse, some scholars have broken discourse down into four primary types: argument, 12 narration, description, and exposition. Many acts of communicate include more than one of these types in quick succession. - Argument: A form of communication meant to convince an audience that the writer or speaker is correct, using evidence and reason. - Narration: This form of communication tells a story, often with emotion and empathy involved. - Description: A form of communication that relies on the five senses to help the audience visualize something. - Exposition: Exposition is used to inform the audience of something with relatively neutral language, i.e., it‘s not meant to persuade or evoke emotion. Other literary scholars have divided types of discourse into three categories: expressive, poetic, and transactional. Expressive: Expressive discourse comprises those acts of literary writing that is creative, yet non-fiction. This could include memoirs, letters, or online blogs. Poetic: Poetic discourse comprises creative, fictional writing. Poetic discourse includes novels, poems, and drama. These types of work often prioritize emotion, imagery, theme, and character development, as well as the use of literary devices like metaphor and symbolism. Transactional: Transactional discourse is used to propel something into action, such as advertising motivating a customer to buy, or showing a customer how to use a product via a manual. This type of discourse generally does not rely so much on literary devices. 2.3.2. Significance of discourse in literature Discourse of any type is one of the most important elements of human behavior and formation. Countless studies have been done on the way the brain shapes thoughts into words and, indeed, the way that communication shapes the brain. Many studies have specifically targeted the way that speakers of different 13