Suggested Format of Course Paper Abstract I. II. Introduction Body 1. Brief account of the author 2.

Brief account of the essay 3. Major theme of the essay 4. Linguistic presentation of the theme a. Lexical features b. Syntactic features c. Phonological features d. Semantic features/figures of speech 5. Conclusion III. Reference

Poem: The Red Wheelbarrow By: William Carlos Williams

The Red Wheelbarrow so much depends upon a red wheel barrow glazed with rain water beside the white chickens.

Introduction

Oppose practicing the learned rhetoric in poetry writing, Williams finds his subjects in such homely items as wheelbarrows. He believes that localism a line can lead to culture. Imagism finds its full expression in The Red Wheelbarrow, one of the masterpieces of William Carlos Williams. This paper analyses the linguistic features of this poem, including phonological, lexical, syntactic and semantic features, and we can have a more clear idea of this poem.

The poem The Red Wheelbarrow is actually a bright colored picture. The contrast of the white chicken beside the red wheelbarrow is a testament to the colors of the world we live in and that fall within the spectrum of our site. The fact that it is glazed with rain takes us back to the smells of youth when a storm finally breaks and everything is fresh and clean with the sun coming back out. The wheelbarrow is a symbol related to the idea of sustenance. The opening line of the poem "so much depends" is indicative to that William Carlos Williams wanted to write a poem which would create in us a thought process in regards to what is really important in life and link us to memories of our senses in the past based on the exposure an individual had to certain things.

Body

Linguistic presentation of the theme:

(1)

Phonological features

In terms of sounds, quite apart from its images or its vocabulary, Williams intricately tunes the poem. The first and second stanzas are linked by the long o in the words so and barrow and by the short u in the words much, upon and a. l and r interlace the core stanzas that is the second and the third stanzas. These two sounds, however, are not in the first and the fourth stanzas. This simple device distinguishes the framing stanzas from the central stanzas. One result of this distinction is that the central stanzas are mellifluous, the frame stanzas choppy.

Then, however, the honeyed and the choppy are linked in the third and fourth stanzas. They are joined by means of a parallel construction: the long vowels in glazed with rain match those in beside the white. In the last stanza, another loop is closed when the sounds ch and ens in the last word of the poem echo the sounds in the initial line: so much depends. The fourth, sixth and eighth lines each has only one word. barrow, water and chickens. These words are all stressed on the first syllable and weaken on the second syllable.

(2)

Graphical features

This poem is a sentence So much depends upon a red wheelbarrow glazed with rain water beside the white chickens. to be divided into four stanzas. These four stanzas are always three words and then one word, the one word, moreover, always of two syllables, while the three-word line having four syllables the first and the last time, but only three syllables on its two middle occurrences. This sixteenword sentence is banal but it is changed into a great poem without displacing a single word except typographically, the sixteen words exist in a different zone altogether, a zone remote from the word of sayers and sayings. That zone is what Williams in the 1920s started calling the imagination.

(3)

Lexical features

Lines 3-4 Here the image of the wheelbarrow is introduced starkly. The vivid word red lights up the scene. Notice that the monosyllable words in line 3 elongates the line, putting an unusual pause between the word wheel and barrow. This has the effect of breaking the image down to its most basic parts. Using the sentence as a painter uses line and color, Williams breaks up the words in order to see the object more closely.

Lines 5-6 Again, the monosyllable words elongate the lines with the help of the literary device assonance. Here the word glazed evokes another painterly image. Just as the reader is beginning to notice the wheelbarrow through a closer perspective, the rain transforms it as well, giving it a newer, fresher look.

Lines 7-8 The last lines offer up the final brushstroke to this still life poem. Another color, white is used to contrast the earlier red and the unusual view of the ordinary wheelbarrow is complete.

Compound words: wheelbarrow, rainwater It is important to know that the author means wheel barrow instead of wheel and rain water instead of rain. The rigorous metrical convention of the poem demands simply three words in the first line of each couplet and a disyllable in the second. But the line termini cut the words wheelbarrow and rainwater into their constituents, without the use of hyphenation to warm that the first noun is to be part of a compound, with the implication that they are phenomenological constituents as well. The wheel plus the barrow equals the wheelbarrow, and in the freshness of light after the rain, things seem to lose their compounded propertie. Instead of shifting back and forth from original to derived meanings of words, Williams etymologizes his compounds into their prior phenomena, and his verbal act represents, and makes the reader carry out, a meditative one.

(4)

Syntactic features

Since this poem is actually formed by a sixteen-word sentence, it does not have any complete sentences in each stanza. In fact, every stanza is a short phrase. Each stanza includes four words and the first line of every stanza is three words and the second is one word. It seems like a that clause as an object at the beginning of the sentence, giving the readers a kind of feeling that the head is heavier than the feet. In this top-heavy structure, the readers may have a feeling of heaviness and stress, implies the pressure of life.

(5)

Semantic features

Metaphor The wheelbarrow is described as glazed with rainwater, that is, shining, with a suggestion of hardness. The author sees the wheelbarrow immediately after the rain, when the bright sun has created the wheelbarrows shiny surface and has made the chickens immaculately white. In nature, this scene occurs when dark clouds still cover a portion of the sky. In this short time after the rain has ceased, the chickens have emerged from whatever refuge the sought during the storm. They are reassured that they can begin normal living again and do so calmly. The metaphor glazed captures time in the poem. In a moment, the wheelbarrow will be dry, its sheen gone, yet the hardness suggested by the metaphor is not irrelevant. This moment is like others in life. Periods of danger, terror and stress do not last. The glaze, like the rainbow, signals a return to normality

of restoration. The poem creates a memorable picture of this recurring process, reflections upon its meaning may provide the reassurance that makes us more durable.

Contrast We can identify two contrasts in the poem. One is between the latest advances in machine technology and the continuing but overlooked importance of elementary machines. The other is between the universal and age-old scene depicted in the poem and the radically new free verse form in which it exists.

Conclusion With careful word choice, attention to language, and unusual stanza breaks, Williams has turned an ordinary sentence into a great poem. After an analysis of the linguistic features of this poem, we can have a better understanding of the authors idea and appreciate the beauty of every aspect of this poem.

Task A - Read through the poem several times The first step is to read the poem a number of times so that you feel you are familiar with it, and understand it at least in a general way (hopefully you will understand it in a lot more detail after doing the analysis). Task B - Write down your general understanding of poem The next step is to write down your general intuitive understanding of the poem. You will need this to refer back to as you go through the various stages of analysis. Effectively, it becomes the interpretative hypothesis that you will need to check each level of analysis against, as you go along. You may find that you need to change your interpretation, at least to some degree, in the light of that analysis. So it is important to write your views down now, as a record of your starting point. Try to write more than a few words - a paragraph of a few lines is probably about right. You need to get at least some detail into what you say in order to have something to check. When you have come up with your views on the poem, compare them with ours.

Task C - Intertextual relations The fact that texts can have intertextual relations with other texts. Look at the lines of the poem .

Task D - Identify graphical deviations (paano umiba sa standard) We have explored graphological deviation. Go through the poem (beginning with the title), line by line, isolating any other graphological deviations and explaining them and their effects

Task E - Look at how the poem starts Now let's have a look at how the poem starts. Does it start in an 'orderly' way? What kind of effect is created by the first line?

Task F - Grammatical structure (phrase, clause) Notice the overall grammatical structure . -main clauses -subordinate clauses - conjunction

-adverbial clause -parallelisms

Task G - Sematic deviations Look at semantic deviations in the poem and the meanings and effects associated with them.

Task H - Phonetic parellelisms Notice phonetic parallelisms (rhyme relations between words in the poem and other words outside the text which form part of clichs which are parallel grammatically to the relevant parts of the poem Identify extra phonetic parallelisms and explain their importance and associated effects Concluding Remarks 1. Focus on the matters which seem to be foregrounded and relevant interpretatively

Style Analysis

Style-the particular manner of expression of a writer which distinguishes him from other writers Terms to Classify a Writers Style: journalistic vivid rhythmic scholarly pedestrian bookish pedantic original classical ornate poetic imitative sincere comic detailed artificial literary homely dignified dramatic dull concrete

forceful scientific

abstract

Diction Also known as word choice, refers to the conscious selection of words to further the authors purpose. A writer searches for the most appropriate, evocative or precise word or phrase to convey his or her intent. Diction is placing the right word in the right place. It is a deliberate technique to further the authors purpose or intent. Describe diction by considering the following: 1. Words may be monosyllabic (one syllable in length) or polysyllabic (more than one syllable in length). The higher the ratio of polysyllabic words, the more difficult the content. 2. 1. 2. 3. 4. Words may be mainly colloquial (conversational/slang) Hes Nuts informal (personal, conversational) Hes Crazy formal (academic/literary), Hes schizophrenic old-fashioned (archaic).

3. Words may be mainly denotative (containing an exact/dictionary meaning) or connotative (containing a suggested/emotional meaning). 4. Words may be concrete (specific) or abstract (general).

5. Words may be euphonious (pleasant sounding), e.g. butterfly, or cacophonous (harsh sounding), e.g., pus.

Syntax/Sentence Structure The grammatical structure of sentences. Without syntax, there is no clear communication. When we refer to syntax in the context of rhetorical analysis, we are not speaking of grammatical correctness, but rather of the deliberate sentence structure the author chooses to make his or her desired point. Describe the sentence structure by considering the following: 1. Examine the sentence length.

Are the sentences telegraphic (fewer than five words in length), short (approximately five words in length), medium (approximately eighteen words in length), or long and involved (thirty words or more in length)? Does the sentence length fit the subject matter; what variety of lengths are present? Why is the sentence length effective? How does the structure fit the subject matter? 2. Examine sentence patterns. Some elements to be considered are:

Functional: A declarative (assertive) sentence makes a statement, e.g., The king is sick. An imperative sentence gives a command, e.g., Off with their heads. An interrogative sentence asks a question, e.g., Why is the kings sick? An exclamatory sentence makes and exclamation, e.g., The king is dead! Grammatical: A simple sentence contains one subject and one verb, e.g., The singer bowed to her adoring audience. A compound sentence contains two independent clauses joined by a coordinate conjunction (and, but, or), or by a semicolon, e.g., The singer bowed to the audience, but she sang no encores. A complex sentence contains an independent clause and one or more subordinate clauses, e.g., You said that you would tell the truth. A compound-complex sentence contains two or more principal clauses and one or more subordinate clauses, e.g., The singer owed while the audience applauded, but she sang no encores. Rhetorical: A loose sentence is one in which the independent clause comes at the beginning and makes complete sense if brought to a close before the actual ending, e.g., We reached Edmonton/that morning/after a turbulent flight/and some exciting experiences.

A periodic sentence makes sense only when the end of the sentence is reached because the independent clause comes at the end, e.g., That morning, after a turbulent flight and some exciting experiences, we reached Edmonton. In a balanced sentence, the phrases or clauses balance each other by virtue of their likeness or structure, meaning, and/or length, e.g., He maketh me to lie down in green pastures; he leadeth me beside the still waters. Natural order of a sentence involves constructing a sentence so the subject comes before the predicate, e.g., Oranges grow in California. Inverted order of a sentence (sentence inversion) involves constructing a sentence so the predicate comes before the subject, e.g., In California grow oranges. This is a device in which normal sentence patterns are reversed to create an emphatic or rhythmic effect. Split order of a sentence divides the predicate into tow parts with the subject coming in the middle, e.g., In California oranges grow. Juxtaposition is a poetic and rhetorical device which normally unassociated ideas, words, or phrases are placed next to one another, creating an effect of surprise and with, e.g., The apparition of those faces in the crowd;/Petals on a wet, black bough (In a Station of the Metro by Ezra Pound). Parallel structure (parallelism) refers to a grammatical or structural similarity between sentences or parts of a sentence. it involves an arrangement of words, phrases, sentences, and paragraphs so that elements or equal importance are equally developed and similarly phrased, e.g., He was walking, running, and jumping for joy. Antithesis-Contrasting words, phrases, or clauses are placed next to each other. Repetition is a device in which words, sounds, and ideas are used more than once for the purpose of enhancing rhythm and creating emphasis, e.g., ...government of the people, by the people, for the people, shall not perish from the earth (Address at Gettysburg by A. Lincoln). A rhetorical question is a question which expects no answer. It is used to draw attention to a point and is generally stronger than a direct statement, e.g., If Mr. Ferchoff is always fair, as you have said, why did he refuse to listen to Mrs. Baldwin's arguments? 3. 4. Examine the sentence beginnings. Is there a good variety or does a pattern emerge? Examine the arrangement of ideas in a sentence. Are they set out in a special way for a purpose?

5. Examine the arrangement of ideas in a paragraph to see if there is evidence of any pattern or structure. Treatment of Subject Matter and Selection of Detail Selection of detail is part of an authors style.

Describe the authors treatment of the subject matter by considering the following. Has the author been: 1. 2. Subjective? Are his conclusions based upon opinions; are they rather personal in nature? Objective? Are his conclusions based upon facts: are they impersonal or scientific?

3. Supportive of his main idea? If so, how did he support his claims? Did he: state his opinions; report his experience; report observations; refer to statements made by experts; use statistical data? Figurative Language/Poetic Devices/Imagery-What is the purpose? What is the effect? How do they work? 1. Simile is a comparison of two different things or ideas through the use of the words like or as. It is definitely stated comparison, where the poet says one thing is like another, e.g., The warrior fought like a lion. 2. Metaphor is a comparison without the use of like or as. The poet states that one thing is another. It is usually a comparison between something that is real or concrete and something that is abstract, e.g., Life is but a dream. 3. Personification is a kind of metaphor which gives inanimate objects or abstract ideas human characteristics, e.g., The wind cried in the dark. 4. Hyperbole is a deliberate, extravagant, and often outrageous exaggeration. It may be used either for serious or comic effect; e.g., The shot that was heard 'round the world. 5. Understatement (Meiosis) is the opposite of hyperbole. It is a kind of irony which deliberately represents something as much less than it really is, e.g., I could probably manage to survive on a salary of two million dollars per year.