a transformational analysis of anastrophe on...

A Transformational Analysis of Anastrophe on Coleridge’s

Kubla Khan

A Thesis

Submitted to Letters and Humanities Faculty

In Partial Fulfillment of the Requirements for the Degree of Strata One

AYIF AMRULLAH

1112026000033

ENGLISH LANGUAGE AND LITERATURE DEPARTMENT

FACULTY OFADAB AND HUMANITIES

ISLAMIC STATE UNIVERSITY

SYARIF HIDAYATULLAH

JAKARTA

2016

i

ABSTRACT

Ayif Amrullah,A Transformational Analysis of Anastrophe on Coleridge’s

Kubla Khan. Thesis: Letters and Humanities Faculty, State Islamic University

(UIN) Syarif Hidayatullah, Jakarta, November 2016.

This research is aimed to find out the formation of Anastrophe patterns

causing irregularity in arranging the poem and also to depict the forms of

transformation that make up the Anastrophe patterns resulting topicalization on

the poem by generative transformational grammar theory. The data are collected

from the poem authored by Samuel Taylor Coleridge. The methodology used in

this research is qualitative method and the writer applies syntactic and pragmatic

functional approach to solve the issue in this research. As the findings, the

irregularities caused by anastrophe patterns mostly occurred by adverb inversion,

full-verb inversion, adjective following the noun it modifies, and the object

preceding its verb. The transformations explain the irregularities process from its

deep structure of the sentences until the surface’s one through T-Supp, T-AdvP, T-

Rel, T-RelRed, T-Prt, T-Q, and T-Infl. In conclusion, the irregularities occur in the

poem caused by anastrophe patterns still can be explained through Chomsky’s

generative transformational grammar.

Keyword: Anastrophe, Inversion, Generative Transformational Grammar,

Pragmatic Function, Poem.

iv

DECLARATION

I hereby declare that this submission is my own work and that, to be the best of

my knowledge and belief, it contains no material previously published or written

by another person nor material which to a substantial extent has been accepted for

award of any other degree or diploma of the university or other institute of higher

learning, except where due to acknowledgement has been made in the text.

Jakarta, November 11, 2016

Ayif Amrullah

v

ACKNOWLEDGEMENT

Alhamdulillahi robbil ‘alamiin, all praises due to Allah SWT, The Most

Gracious and The Most Merciful for His help, affection, and guidance to the

writer in completing his study in the Stet Islamic University Syarif Hidayatullah,

Jakarta. Then, peace and blessing of Allah be upon His messenger, Muhammad

SAW, his family, and his companions.

On this occasion, the writer would like to give his sincerest gratitude to his

parents, especially his mother, Akibah Aziz, for her prayers and support during

the process of making this thesis.

In the terms of completing his study, the writer would like to express his

deepest gratitude to Abdurrosyid, S.S., M.EIL., the writer’s advisor in writing

this thesis, the deepest gratitude for his guidance, helpful correction, cooperation,

kindness, and time until the thesis done well.

The writer also would like to thank to the most meaningful people that the

writer assures for this work would not finish without their supports and aids. They

are as follows:

1. Dr. Sukron Kamil, MA., the Dean of Letters and Humanity Faculty.

2. Drs. Saefudin, M. Pd., the Head of English Letters Department.

3. Elve Oktaviyani, M. Hum., the Secretary of the English Letters Department.

4. All the lecturers of English Letters Department, who have taught and educated

him during his studies at the campus.

vi

5. All librarians in the Main Library of UIN Jakarta, FAH UIN Library,

Unika Atma Jaya Library, and UI Library who help him to get many

useful references for this thesis.

6. All English Letters Students Class of 2012 who have been mutually telling

each other to finish the thesis.

7. The writer’s tutor and lecturer, Dhuha Hadiyansyah, M. Hum., who has

been sharing his knowledge and advices to finish this thesis.

8. His dormitory friends of ‘Komplek Gengs’, Bli Akmal, Enung, Rizki, and

Beni.

9. His Zink, Siti Rahmah, who has been supporting and accompanying him

through the pain and the gain.

The words are not enough to say any appreciation for the help and

contribution to his paper. May Allah SWT, The Almighty and Merciful, bless

them all and give them more than what they gave to the writer. Hopefully, this

thesis gives many benefits for all people who read it.

Jakarta, November 2016

Ayif Amrullah

vii

TABLE OF CONTENT

ABSTRACT……………………………………………………………... i

APPROVAL SHEET…………………………………………………… ii

LEGALIZATION............................................................................. iii

DECLARATION………………………………………………………... iv

ACKNOWLEDGEMENT……………………………………………… v

TABLE OF CONTENT………………………………………………… vii

CHAPTER I. INTRODUCTION……………………………………….. 1

A. Background of the Study.………………………………… 1

B. Focus of the Study………………………………………… 4

C. Research Question………………………………………… 4

D. The Objective of Research……………………………….. 5

E. Significance of The Study………………………………... 5

F. Research Methodology…………………………………… 5

1. Research Method………………………………………. 5

2. Instrument of Data Analysis………………………….. 6

3. Technique of Data Collection and Data Analysis…… 6

4. Unit Analysis……………………………………...……. 7

CHAPTER II. THEOROTICAL FRAMEWORK……………………. 8

A. Previous Research…………………………………………. 8

B. Anastrophe…………………………………………………. 9

C. Generative Transformational Grammar………………... 12

viii

D. Irregularity………………………………………………… 14

E. Topicalization……………………………………………… 19

F. Poetry………………………………………………………. 22

1. Elements of Poetry……………………………………… 22

a. Rhythm……………………………………………… 23

b. Meter………………………………………………… 24

c. Rhyme……………………………………………….. 25

d. Line…………………………………………………... 26

e. Stanza………………………………………………… 27

f. Form…………………………………………………. 28

CHAPTER III. RESEARCH FINDINGS……………………………… 31

A. Data Description…………………………………………… 31

B. Data Analysis………………………………………………. 31

1. Anastrophe Analysis……………………………………. 31

2. Generative Transformational Grammar Analysis…… 40

3. Pragmatic Function Analysis…………………………… 58

C. Discussions…………………………………………………. 63

CHAPTER IV. CONCLUSION AND SUGGESTION……………….. 68

A. Conclusion…………………………………………………. 68

B. Suggestion…………………………………………………. 69

CITATION……………………………………………………………… 71

APPENDICIES……………………………………………………………... 76

1

CHAPTER I

INTRODUCTION

A. Background of The Study

Poetry communicates universal human truths which is an instrument to

make us see life and live it more intensely even poetry is received in a hostile

spirit, for poetry, by its very nature, is often difficult to comprehend (Peskin 235).

Its difficulty is a unique aspect to give aesthetic ways. The emphasis on the

aesthetic aspects of a language makes it sometimes deliberately adds repetition of

words and harmonization the final sound or rhyme. Donovan (2012) states that

many grammar tools are used as an aesthetic of the poems piece. Even sometimes

writing poetry violates grammatical rules in writing a particular sentence

structure.

One that often appears in poetry is the frequent exchanged word‟s position

(inversion) of the supposed arrangement, which aims to make it more attractive

and unique, not even are rarely compiled just to keep the rhyme eventually stay

the same making it more striking. As mentioned by Blake et al. (376), inversion is

a well marked device in poetry. It means that it such an absolute for inversion to

be conveyed in poetry. Stanford (722) defines inversion as the reversal of the

standard order of words in a line or sentence. Here is one example of which is

contained in the poem by William Wordsworth in "Ode: intimations of

Immortality from Recollections of Early Childhood":

2

“To me alone there came a thought of grief:

A timely utterance gave that thought relief,

And I again am strong:

The cataracts blow their trumpets from the steep;”

The arrangement of the first line has undergone many changes of

sentences in general, which should be written such this, "a thought of grief came

to me alone there". It is intended by the author not only to make the reader

puzzled, or make his poetry more appealing, but further again it is intended to

equalize the final sound or rhyme with the second line of the poem. The position

change of prepositional phrase at the beginning of a sentence and even the

exchange position of the verb after its subject becomes somewhat unusual. This

was due to the inversion has occurred in two words (subject and verb), it is called

as Anastrophe. Samuel Johnson defines Anastrophe as „a figure whereby words

which should have been precedent, are postponed‟, and glosses its Greek original

as „preposterous placing‟ (Dick and Lupton 89).

Georgia Green (582), in „Some wherefores of English Inversions‟,

catalogues and discusses a number of inversion structures which have in common

the emphaticness of the preposed phrase. It means that somehow the preposed

phrase in inversion sentence is to indicate emphaticness. The forms of reversal

arrangement (inversion) could include the placement of a noun (subject) after the

verb, or the placement of the adjective after the noun and other forms of inversion.

Likewise in the second and third row have occurred inversion of the arrangement

should be, such as: "An utterance timely gave that thought of relief, and again I

3

am strong." This sort of thing can happen in writing a poem is sometimes

considered ignoring the rules of grammar in the arrangement of a sentence.

Furthermore, the form of anastrophe in the poem seems to be the part of

Lakoff‟s rule about irregularity in syntax (IS) which is called as the partly minor

rules (46). This irregularity will be analyzed by Chomsky‟s Generative

Transformational Grammar (GTG) (1957). GTG is a theory of competence.

Competencies should be distinguished by performances (Chomsky 4). Ba‟dulu

and Herman (68) stated that competence is the knowledge of the original

addressees of the language, being linguistic performances is the actual use of

language in real situations. To consider the linguistic performance, we must

consider the interaction of various factors, one of which is the competence of

addressees and fundamental listener. This relates to the competence of Coleridge

as a poet who wanted to create uniqueness in his poem for readers. Moreover, the

basic concept of GTG is about deep structure and surface structure. Radford (401)

remarked that the two levels of the structures (S-structure and D-structure) are

inter-related by a set of movement rules known technically as Transformation. So

through the transformational rules the irregularities constructed by the form of

anastrophe will be explained.

As the result of anastrophe patterns, the preceded words into the front of

the sentences simultaneously called as topicalization process. To elucidate

topicalization process, it needs functional approach of the selected data while

Chomsky‟s theory could not explicate this process. Dik (243), a functionalist

grammar, concentrates on different types of functions which the embedded

4

construction may have: semantic functions (such as Agent, Goal or Zero),

perspectival functions (or syntactic functions, Subject and Object) and pragmatic

functions (mainly Topic and Focus). The latter function is used to clarify the

process of topicalization in this research. As mentioned by Radford (532),

topicalization is a process by which a constituent is made into the topic of a

sentence by being moved into a prominent position at the front of the sentence.

Hence, it is considered the need for further research in addressing

irregularities in arranging the sentences that one of them caused by Anastrophe by

using the theory of generative transformational grammar and topicalization as the

result of anastrophe process in the poem namely “Kubla Khan” which authored by

Samuel Taylor Coleridge.

B. Focus of The Study

Focus of the study is to describe irregularity contained in Coleridge's

poem. The focus of research is in the irregularities caused by the forms of

inversion that are classified in the category of anastrophe. The poem will be

analyzed by theory generative transformational grammar, particularly on Revised

and Extended Standard Theory‟s Chomsky and Simon Dik on the functional

approach.

C. Research Question

In order to conduct the study, the problems which arise on the background

of the study will be formulated as the following research questions:

1. How does the formation of Anastrophe patterns cause irregularity in

arranging the Coleridge‟s Kubla Khan?

5

2. What are the kinds of transformation that make up the Anastrophe patterns

resulting topicalization on the poem?

D. The Objective of Research

Based on the research question, the objectives of this study are:

1. To analyze the formation of Anastrophe patterns causing irregularity in

arranging Coleridge‟s Khubla Khan.

2. To find out the forms of transformation that make up the Anastrophe

patterns resulting topicalization on the poem.

E. Significance of The Study

The significance of this study includes two aspects, namely the theoretical

and practical aspects. The following are the significances of this study:

1. Worthwhile to the development of generative transformational grammar

theory, related to its structure toward Anastrophe patterns.

2. It can be valuable to the readers by reading the result of this study they can

improve their understanding about the irregularities occurring on prosody.

F. Research Methodology

1. Research Method

This research uses a qualitative method, since the analyzed data in the

form of written and verbal data instead of numeric data. Qualitative method is

type of research that produces findings not arrived by statistical procedures or

other means by quantification (Strauss 11-12). Data that does not require

statistical analysis must be analyzed qualitatively based on methods, theories or

approaches that are relevant, such as the historical approach, sociological,

6

psychological, and textual approach (Farkhan 43-44). Therefore, the study finally

decided to be analyzed with textual approach in the form of content analysis

where it tries to explain clearly the cause of any irregularity affecting the

arrangement of a poem, and how the pattern formation. On the other hand, the

study also explained about the transformation process after the occurrence of word

inversion caused by Anastrophe pattern and describes the process of topicalization

in the poem that occurs after Anastrophe pattern.

2. Instruments of Data Analysis

The instrument is the tool or the way that is used to obtain the data or

information is needed in a research (Farkhan 8). The research instrument used in

this research is data card. The data card is used to write the important keywords

while finding the source of information regarding the object of the research.

Besides, the data card is useful as a container logger to record important

information needed during the research activities underway.

3. Technique of Data Collection and Data Analysis

In this research, the data are collected by bibliography technique (teknik

pustaka) which is taken from printed media. According to Edi Subroto, this

technique used written source to collect the data (42). This research uses verbal

data, which taken from a poem by Samuel Taylor Coleridge called Kubla Khan.

The object of research analyzed will include two different disciplines, namely:

literature as the object of study and linguistics as a tool for analyzing literary

works. The process of data analysis will be performed on this qualitative method

7

with literature as its object. The process of data analysis initially is selecting the

poems that will be used as research material. Then, describing the irregularities

phenomena which appear in the poem related to the arrangement of sentences.

The next phase is analyzing the cause of the irregularities that occurred in the

arrangement of the poem. Furthermore, meanwhile explaining the process of

changes in the arrangement of sentences due to the inversion through

Transformational Generative theory to describe the transformation of any forms

that arrange Anastrophe patterns in the poem, it also elucidates the process of

topicalization in the poem that occurs after Anastrophe patterns.

4. Unit Analysis

The unit analysis of this research is a literary work by Samuel Taylor

Coleridge called Kubla Khan. This poem was written in 1797 and published in

1816. The poem is selected for this research due to containing the sentences

formed in anastrophe patterns.

8

CHAPTER II

THEORETICAL FRAMEWORK

A. Previous Research

To start this study, the writer displays some previous research. It is used to

avoid any similarities toward the analysis. The first one was a research entitled

Transformational Generative in short story, All Summer in a Day authorized by

Ray Bradbury, a journal of the work Anisah Haidaratul Hanifah, someone who

has been doing research on a short story titled All Summer in a Day by Ray

Bradbury analysis method governance language transformation, which focuses on

the general type of transformation. Results of the analysis will show the use of

language transformation rules which existed on the arrangement of sentences in

the short story (132). On the other hand, Even if the study of data is equally a

work of literature, but it has different object types, namely short stories.

The second previous research was a research work of Jessica White

Sustaita, a student of the department of Linguistics at the University of Texas,

Austin, described the process of formation of inversion negative (IN) as one of the

non-canonical English (e.g. Do not nobody else care) titled Reconsidering the

syntax of non-canonical negative inversion. Sustaita (429) claimed that this paper

described the problems encountered by previous research, and offers an integrated

analysis of variations in IN in dialect. Haegeman & Zanuttini states

“Syntactically, IN is made possible through the Neg-Criterion.” Obviously the

study was limited discussion of the process and the formation of negative

inversion (NI), even more focused in offering integrated analysis associated with

9

previous research. Although the discussion about the arrangement of the inversed

sentences occurred in the study of linguistics, but still, the discussion focuses on

the extent of the inversion pattern that is only negative inversion (NI).

B. Anastrophe

Anastrophe is one form of inversion found in poetry. Hudspeth (2003)

acknowledges that anastrophe is a pattern in which an author reverses the order of

the words in a sentence, phrase, or idea (or unconventional). J.A. Cuddon states

that word Anastrophe is from Greek, means „turning back‟, or the inversion of the

normal order of words for a particular effect. Samuel Johnson defines Anastrophe

as „a figure whereby words which should have been precedent, are postponed‟,

and glosses its Greek original as „preposterous placing‟ (Dick and Lupton 89).

In linguistics, this study simply enters into discussion of inversion that has

varied types. Anastrophe, according to Rong Chen (2) usually occurs in the form

of an adverb inversion, subject auxiliary inversion (SAI) and the full-verb

inversion. In general, inversion is divided into five types, namely:

a. Wh-question inversion, the inversion is formed on a question that begins

who, where, when, why, what and how. Example: Why did you come late?

b. Quote inversion, the inversion that occurs in one's immediate revelation

(direct statement). Example: "I love this new car" said Lina.

c. Adverb inversion, the inversion involving forms there, here, nowhere as

the pronoun for the original subject. Example: There is a knock at the

door.

10

d. Subject auxiliary inversion (SAI), the inversion formed from exchange

positions subject to the usual auxiliary verb preceded by the negative

adverb or negative conjuntor, such as: not only... but Also; Neither, and

nor; Never, seldom and etc. Example: Never have I seen such an

interesting person. Or even in yes-no question such as “Can you help me?”

(Radford 216)

e. Full-verb inversion, Green defines it as the composition of the subject

statements followed by some or all of the verb phrase (Alonso 5). Verb

phrase here, according to Quirk et el. consists of a main verb either stand

alone or be preceded by the fourth function of the verb complement (62).

Green, Denison, Biber et al mentioned that full-verb inversion generally

found in fiction writing (Alonso 1). Example: On my left was Tom Lopez.

The third, fourth and fifth forms are what go into Anastrophe discussion.

According to Hudspet, the goals of anastrophe itself divided into two aspects in

which to create sense of depth and to keep the rhyme. As presented by Silva

Rhetoricae, anastrophe occurs whenever the normal syntactical arrangement is

violated for emphasis:

1. The verb before the subject-noun (normal syntax follows the order subject-

noun, verb): Glistens the dew upon the morning grass. (Normally: The

dew glistens upon the morning grass).

2. Adjective following the noun it modifies (normal syntax is adjective,

noun): She looked at the sky dark and menacing. (Normally: She looked at

the dark and menacing sky).

11

3. The object preceding its verb (normal syntax is verb followed by its

object): Troubles, everybody's got. (Normally: Everybody's got troubles)

4. Preposition following the object of the preposition (normal syntax is

preposition, object ["upon our lives"]): It only stands / Our lives upon, to

use Our strongest hands—Shakespeare, Antony and Cleopatra 2.1.50-51

Poets often use anastrophe in order to help maintain rhythm or a rhyme

scheme. While rhyme is created to give aesthetic sounds of poetry and it‟s

dynamic to move forward from one quatrain to other quatrains (Siswantoro 130).

In the other hand, even if the use of anastrophe is less common in prose, it is often

used in order to create a sense of depth or wisdom to the words being written.

As Bengt Jacobsson in “A New Look at Negative and Correlative Subject–

Auxiliary Inversion in English”, notes the main points of his research is about the

emphaticness of preposed element and the correlative between negative attraction

and inversion (36-37). Georgia Green, in „Some wherefores of English

Inversions‟, catalogues and discusses a number of inversion structures which have

in common the emphaticness of the preposed phrase. He means that somehow the

preposed phrase in inversion sentence is to indicate emphaticness. Deborah

Schmidt declares that emphasis, like rhythm, has been „„something of a garbage

category which included a great many hard-to-explain inversions‟‟ (37f), but she

admits that „„inversion has to do with emphasis‟‟ and she refers to „„the inherently

emphatic fronted constituents … which trigger obligatory semi-inversion when

fronted‟‟ (60). Then, it is apparently that inversion has to do with emphaticness

and emotiveness to create sense of depth which is mostly occurs in prosody.

12

Besides, Liliane Haegeman invokes a so-called NEG-criterion to explain

inversion in, for example, “On no account will I do that”, such sentences being

„„negative sentences” in an intuitive sense. Heidrun Dorgeloh notes that SAI

(subject-auxiliary-inversion) „„due to its mostly obligatory status‟‟ is „„treated as

an attraction inversion (40), i.e. an automatised construction by

Hartvigson/Jakobsen‟‟. Kruisinga notes that a front-shifted negative word

„„naturally attracts the predicative verb‟‟ (325).

The forms of these inversions will be discussed by the theory of

Generative Transformational Grammar (GTG), wherein the irregularities as a

result of this inversion will be reviewed from its deep structures.

C. Generative Transformational Grammar (GTG)

After Phrase Structure Grammar (PSG) has not quite satisfied Chomsky

in solving various problems of language, eventually Transformational Generative

Grammar (GTG) is a further breakthrough. GTG is a theory of competence, the

knowledge of native speakers about language, while performance is a real

language use (Ba‟dulu 68). Chomsky acknowledges that a grammar of a language

purports to be a description of the ideal speaker hearer's intrinsic competence (4).

Wasow in The Handbook of Linguistics states that the goal of this theory, as

articulated by Chomsky, is to account for language learnability by making the

theory so restrictive that a descriptively accurate grammar (302).

Carny states that the theory of syntax has much influenced by Chomsky

and his colleagues, which has had many different names through its development

(Transformational Grammar (TG), Transformational Generative Grammar,

13

Standard Theory, Extended Standard Theory, Revised and Extended Standard

Theory (REST), Government and Binding Theory (GB), Principles and

Parameters approach (P&P) and Minimalism (MP), is often given the blanket

name Generative Grammar (5). The study will use Revised and Extended

Standard Theory (REST) of Generative Grammar as guidance for solving the

problems in this research. As it was the development of what he calls, a

syntactically-based grammar in which the deep-structure syntax contains rules of

maximum syntactic generality, which do not 'express directly all of the semantic

properties of sentences' (52).

In addition to the concept of competence and performance, another basic

concept in GTG also includes the deep structure and the surface structure.

Chomsky makes a fundamental distinction between competence (the speaker-

hearer's knowledge of his language) and performance (the actual use of language

in concrete situations) (4). Ba‟dulu believes that the term deep structure is used to

refer to an underlying mental representation of an utterance (71). Deep structure

has a role in a syntax that initiates transformational derivation, while surface

structure has a role directly related to the meaning of an utterance. The surface

structure consists of actual sentence of the language concerned, namely sentences

that essentially produced by the speakers (Ba‟dulu 71). A transformational rules

given sign T, it will go through a process that thoroughly prepared. Radford

remarked that the two levels of the structures (S-structure and D-structure) are

interrelated by a set of movement rules known technically as Transformation

(401). One example of the transformations is the change of D-structure to S-

14

structure, occurred in this phrase: “The pitcher on the table is full of iced tea”. The

phrase has been experiencing two transformations, which are Relative-Clause

Transformation (T-Rel) and Relative-Clause Reduction Transformation (T-

RelRed) from the deep structure “The pitcher the pitcher is on the table is full of

iced tea”. For instance, here is the picture the deep structure and its tree diagram,

Chomsky's work.

In this study, there will be some transformations to describe D-Structure of

the sentences in a poem experiencing the inversions. This is one of the dynamic

forms of the language described by Chomsky in his book, Aspects of the Theory of

Syntax.

The example of tree diagram picture:

D. Irregularity

Generative grammar assumes that natural language is based on a system of

rules that apply recursively or repeatedly, and only in respect of the rules so that

15

we can produce and understand new sentences that we speak and hear every day.

Initially, it was thought that all the transformation grammars were 'regular'- that

their application is determined solely by the natural grammatical category. In such

systems, Lakoff believes 'irregularities' is not possible, and any apparent

irregularities clearly assumed to reflect their natural grammatical category until

now has not been found.

Irregularity in syntax (IS) initially proposed by Lakoff his old book “On

the Nature of Syntactic Irregularity” in 1966. Traugott believes that IS is already a

classic (161). The reasons can hardly be better expressed than in McCawley's

foreword to the book (v-viii). „IS has been referred to in nearly every major

theoretical work on generative grammar since 1965‟. IS was Lakoff's Indiana

dissertation, inspired by the form of transformational grammar that Chomsky has

since called 'Standard Theory', best represented by Chomsky's Aspects of the

Theory of Syntax.

According to Lakoff‟s, the dissertation entitled “On the Nature of

Syntactic Irregularity” there are two types of transformational rules: major and

minor. Major rules apply in normal cases, but do not apply to exceptions, while

minor rules apply only to the exceptions, but do not apply in normal cases. These

are simple exceptions, but there are also absolute exceptions, lexical items which

must, or must not, meet the structural description of some transformational rules.

There are certain rules in English that apply only to exception, not to

ordinary lexical items, called as minor rules. According to Lakoff‟s Irregularity in

Syntax, the minor rules divided into six rules, these are:

16

1. Not-Transportation

For example, there is an optional rule in English which moves a

"not" from an embedded object complement to the main verb of the matrix

sentence. Consider the following:

a. I think that John didn't come.

b. I don't think that John came.

The NOT-TRANSPORTATION rule operates on only a handful of

verbs like think, believe, anticipate, expect, want, etc. It does not operate

on most verbs, that take object complements, such as hope, like, hate,

require, request, show, and so on (30).

2. Object Nominalization

Another such rule is the one which forms objective nominals. We

will call it OBJ-NOM. OBJ-NOM forms nouns which refer to the objects

of verbs. For example:

a. Things which John did ==> John's deeds

b. Things which John told ==> John's tales

c. That which John vomited ==> John's vomit

Most transitive verbs, however, do not undergo this rule. Again there

is no independently motivated way of predicting which verbs will and which

will not undergo the rule. (31)

17

3. Instrumental Nominalization

Instrumental nominals are another case in point. There is a rule in

English for creating names of instruments from the verbs denoting the

functions they, are to perform. (Call the rule INSTR-NOM.) For example:

a. A device with which one slices things ==> a slicer

b. A device with which one mixes things ==> a mixer (31)

4. ABLE Substitution

The rule which forms "readable" from "able to be read" is also a

minor rule. (Call it ABLE-SUB) Thus we get:

a. His handwriting can be read ==> his handwriting is readable

b. He can be depended upon ==> he is dependable (32)

5. Inchoatives

These are the example sets of sentences:

a) 1. The metal is hard.

2. The metal hardened. (The metal became hard.)

b) 1. The liquid is cool.

2. The liquid cooled. (The liquid became cool.)

c) 1. The gin is frozen.

2. The gin froze. (The gin became frozen.) (32-33)

6. Causatives

Consider the following sentences:

a) 1. The metal hardened.

2. John hardened the metal.

18

3. John brought it about that the metal hardened.

b) 1. The liquid cooled.

2. John cooled the liquid.

3. John brought it about that the liquid cooled.

c) 1. Mary's dress loosened.

2. John loosened Mary's dress.

3. John brought it about that Mary's dress loosened. (41)

Besides the sixth rule, Lakoff adds, there are not only existed minor rules

in English, but there also exist rules that are major for one subcategory of lexical

items and minor for another. This rule named partly minor rules, the rule which

related to the topic of this research.

WH-DEL applies to almost all adjectives, with a few exceptions, such as

ready, glad, sorry, etc. Here are the examples:

a. The boy who is ready ==> the boy ready ===> the ready boy

b. The boy who is glad ===> the boy glad == = > the glad boy

c. The boy who is sorry ===> the boy sorry ===> the sorry boy

d. The boy who is content ===> the boy content ===> the content boy

These adjectives seem to be exceptions to WH-DEL, not to ADJ-SHIFT,

otherwise the intermediate expressions in the examples above would be

grammatical. (46)

In all of the published work on transformational grammar, only one

device has been utilized for handling irregularities, arbitrary subcategorization

19

(Lakoff, I-1). Lakoff adds that the device of arbitrary subcategorization fails to

capture two notions which an adequate theory of language should capture.

1. A theory of language should provide a way for grammars defined by that

theory to distinguish exceptions from regular classes.

2. A theory of language should provide an evaluation measure which prefers

grammars with few exceptions to those with many exceptions. That is, the

grammar which points out the most regularities should be preferred (I-2)

E. Topicalization

To solve the issue about the result of anastrophe patterns, topicalization, it

need further explanation about it. Dik (243), a functionalist grammar, mentions

the different types of functions which the embedded construction may have:

semantic functions (such as Agent, Goal or Zero), perspectival functions (or

syntactic functions, Subject and Object) and pragmatic functions (mainly Topic

and Focus). The latter function is used to clarify the process of topicalization in

this research. As mentioned above that the core subject of topicalization is mainly

topic and focus (comment), or theme and rail (rheme) (Kridalaksana 35).

According to Geluykens topicalization is all movement operations that

involve front-shifting to sentence-initial position (14). This term encompases what

is distinguished as preposing and inversion. The similar description as Brown and

Yule agreed that topicalization is what is being talking about in units of beyond

the sentences level (73). So does Radford illustrate topicalization as a process by

which a constituent is made into the topic of a sentence by being moved into a

prominent position at the front of the sentence (532). Topic in the study of

20

linguistics is defined as a word, phrase or clause which is being discussed as

Brown and Yule states that topic is what the sentence is about (70). On the

contrary, comment or focus is what to tell or explain a topic. According to

Hockett, “an entity identify topics about which the rest of the sentence, the

comment, provides some information” (Gyuris 15). In other words, topics

explained a unity on the information submitted by the next sentence, comment.

Besides, Jeanette K. Gundel and Thorstein Fretheim stated that, "Topic is what the

sentence is about; focus is what is predicated about the topic (Horn and Ward

175).

In addition, the earlier term of psychological/logical subject and predicate

(proposed by Chao in 1968), current terms for topic also include THEME and

GROUND; while to focus, the terms for complement of topic include

COMMENT and RHEME (Jeanette K. Gundel and Thorsteen Fretheim 176).

However, the use of topic-comment sometimes causes ambiguity in understanding

the context of the use topic terminology. Roberts considers in Halliday‟s

terminology, the theme here becomes something that comes by rheme, which is

part of the sentence that intuitively correlated with answers to questions that are

being addressed.

Therefore, in the sense that an interesting theme here is often called

Ground Focus, which is taken to be a complement to the focus of speech. But

Roberts argued that the terminology is misleading because sometimes constituents

in the theme can equally be the focus in prosody. Halliday specifically stated that

the theme functions in the structure of the clause as a message. A clause has

21

meaning as a message, a quantum of information; the theme is the point of

departure for the message (83).

In general, the topic of a sentence becomes the focus of information to be

conveyed, although grammatically sometimes a topic is not the subject of

grammatical and vice versa. As for example, as follows:

a) The duke gave my aunt this teapot.

b) This teapot my aunt was given by the duke.

The clause above has a different topic or theme, namely the first clause

„duke‟ and 'teapot' in the next clause. In some languages, grammar and syntax

phenomenon are determined by the structure of its topic-comment. Therefore, the

study of topic-comment possibly not only influenced by the syntactical structure

itself but also prosody, morphology, or any other combination. One of them in this

study will be more emphasis on the influence of prosody to change topic-

comment in a sentence.

Furthermore, Halliday and Matthiessen classify three different Subjects as

its functions in a sentence, such as „psychological Subject‟, „grammatical Subject‟

and „logical Subject‟ (56).

(i) Psychological Subject meant „that which is the concern of the message‟.

(ii) Grammatical Subject meant „that of which something is predicated‟.

(iii)Logical Subject meant „doer of the action‟.

Related to the examples (a) and (b), the theme „duke‟ here occupies position

as psychological Subject, grammatical Subject, and so logical Subject. On the

contrary, the theme „teapot‟ here occupies psychological Subject only, because it

22

was what the speaker had in his mind to start with when embarking on the

production of the clause while „my aunt‟ as grammatical Subject and „duke‟ as

logical Subject here called as rheme or comment.

Table of Subjects and Its differences

This teapot my aunt was given

by the duke

Psychological

Subject

Grammatical

Subject Logical Subject

Theme/Topic Rheme/Comment

F. Poetry

Poetry is product of deliberate, artful construction in language, designed to

stand in permanent form, with the capacity to bring pleasure to those who hear or

read it (Rosenheim 2). So, the structure of poetry can be simplified defined as free

as the author wishes to convey the meaning of the poem. Everyone varies in

defining the poetry. Robert Frost states that poetry provides the one permissible

way of saying one thing and meaning another (481). It means poets use language

as a way of expressing their sense about the world, conveying their understanding

through words.

1. Elements of Poetry

The point about poetry and the other form of literature is that the choice of

words and elements inside which used by the author (Richard Gill 4). The poets

usually use the intrinsic element to support their works. The intrinsic elements are

the analysis of the literature itself without looking the relation with the external

23

aspect (Robert 11). So, intrinsic elements focus on the elements inside the poetry

itself without any involvement of the extrinsic ones.

To analyze the poetry based on its inside element, the writer uses structural

theory of poetry, that is intrinsic elements of literary work. In poetry, the poets use

syntax as they use imagery, diction, structure, sound, and rhythm- to express

meaning and convey feeling (DiYanni 721). These are some intrinsic elements

contained in poetry. Likewise Perrine believes that poetry can be recognized by

the arrangement of its lines on the page or by its use of rhyme and meter (9).

Then, to make the theory of Perrine clear, the writer includes the summary

of the explanations of rhythm, meter, rhyme, stanza, lines and form.

a. Rhythm

Rhythm is a phenomenon of time: it consists of events which recur

with sufficient regularity within a certain time span to allow us to feel

(technically, perceive) that regularity (Chatman 87). Perrine states the term

rhythm refers to any wavelike recurrence of motion or sound. In speech it is

the natural rise and fall of language (195). Then, rhythm focuses on the

stressed syllables and unstressed ones and it happens with regularity. For

example:

“White founts falling in the Courts of the sun” (Lepanto by G.K. Chesterton).

As outlined in Literary Devices (2013), the use of rhythm in poetry

arises from the need that some words are to be produced more strongly than

24

others. They might be stressed for a longer period of time. Hence, the repeated

use of rhythmical patterns of such accent produces rhythmical effect which

sounds pleasant to the mind as well as to the soul. In speech, rhythm is used

unconsciously to create identifiable patterns. Moreover, rhythm captivates the

audience and readers alike by giving musical effect to a speech or a literary

piece.

b. Meter

Meter is a species of rhythm. The events in meter are syllables, while

in auditory the events are obviously sounds (Chatman 86-87). Meter is the

pattern of stressed and unstressed syllables in a poem--each set of syllables is

referred to as a foot. SForsyth (2012) mentions the name of the meter is based

on this pattern and the length of the line-trimeter, tetrameter, pentameter,

hexameter, and heptameter. Following are the most common feet:

1) Iamb - an iamb consists of an unstressed syllable followed by a

stressed syllable. Because it mimics the natural rhythm of language, it

is the most common. Any poetry anthology will contain more iambic

pentameter than any other meter.

2) Pyrrhic - a pyrrhic is a foot with two unstressed syllables.

3) Spondee - a foot with two stressed syllables is a spondee.

4) Trochee - a foot with a stressed syllable followed by an unstressed

syllable is a trochee.

5) Anapest - an anapest consists of two unstressed syllables followed by a

stressed syllable.

25

6) Dactyl - a dactyl consists of one stressed syllable followed by two

unstressed syllables.

c. Rhyme

Rhythm and rhyme are the basic of sound (Knickerbocker, et.al 362).

As defined in Literary Devices (2013), a rhyme is a repetition of similar

sounding words occurring at the end of lines in poems. A rhyme is a tool

utilizing repeating patterns that brings rhythm in poems which differentiate

them from prose which is plain. A rhyme is employed for the specific purpose

of rendering a pleasing effect to a poem which makes its recital an enjoyable

experience. DiYanni delimits rhyme as the matching of final vowel or

consonant sounds in two or more words; the repetition of consonant sounds,

especially as the first consonant of the words, namely alliteration, while in the

end of stressed syllables without the similar correspondence of vowels called

as consonance; and the repetition of vowel sounds are labelly as assonance

(728).

The function of rhyme itself to give an aesthetic sound of poetry and it

is dynamic to move forward from quantrain to other quantrains (Siswantoro

130). As discussed above, Literary Devices summarized a rhyme serves two

distinct functions in the art of writing poetry:

1) It gives poetry a typical symmetry that differentiates poetry from

prose.

2) It makes recital of poetry a pleasurable experience for the readers as

the repetitive patterns renders rhythm to it.

26

d. Line

Hazelton states lineation is one of many devices poets use to

emphasize or subordinate meaning, to orchestrate ambiguities, and to

encourage the interpretations they desire while closing off unwanted avenues.

She adds that the relationship between the poetic line (including its length and

positioning and how it fits into other lines) and the content of a poem is a

major aspect of poetry (Hazelton). Lineation shapes readers‟ involvement in

and understanding of a poem. As a writer of poetry, it‟s one of the best ways

to steer readers‟ experience of language and different potential meanings.

Since a poet Mary Oliver says, “prose is printed (or written) within the

confines of margins, while poetry is written in lines that do not necessarily pay

any attention to the margins, especially the right margin” (35). Hence, there

are possibilities of poetry which has free verse just to show the intention of the

poets to express their meaning through their works.

When the poet enjambs the line—turns the line so that a logical phrase

is interrupted—it speeds the line for two reasons: curiosity about the missing

part of the phrase impels the reader to hurry on, and the reader will hurry

twice as fast over the obstacle of a pause because it is there. We leap with

more energy over a ditch than over no ditch (Oliver 54). Enjambment can

impact syntax and thereby modify the sense of phrases, words, and even parts

of words. So, Enjambment keeps readers on the edges of their seats,

wondering what will happen next (Hazelton).

27

e. Stanza

As mentioned by Stanford that when the final syllable of a given line

has the same sound as, or a sound similar to, that of another line, these lines

rhyme, and related groups of rhyming lines are called stanzas (6). Oliver

defines it as the term by which we designate a group of lines in a poem that is

separated by an extra amount of space from other groups of lines, or other

stanzas (60). Ending a stanza at the end of a sentence strengthens the natural

pause that follows any line and any completed sentence. Running a sentence

through a final line of one stanza and on into the first line of the next stanza

hastens the tempo, sometimes extraordinarily (Oliver 61). Any change from an

established pattern indicates that the poet wants the reader to feel something

different at that point.

Oliver adds, besides being a guide to the way the poet wants the reader

to feel and understand the poem, each stanza is a part of the design of the

poem—a part of its formal order (62). There are kinds of stanza based on its

lines:

1) Couplet: two-line stanza.

2) Tercet/triplet: three-line stanza.

3) Quatrain: four-line stanza.

4) Quintain: five-line stanza.

5) Sextet: six-line stanza.

6) Septet: seven-line stanza.

7) Octave: eight-line stanza.

28

f. Form

A poem may or may not have a specific number of lines, rhyme

scheme and/or metrical pattern, but it can still be labeled according to its form

or style. Here are the three most common types of poems according to form:

1. Lyric Poetry: It is any poem with one speaker (not necessarily the

poet) who expresses strong thoughts and feelings. Most poems,

especially modern ones, are lyric poems (Larry Liffiton; John

McAllister 25).

2. Narrative Poem: It is a poem that tells a story; its structure resembles

the plot line of a story [i.e. the introduction of conflict and characters,

rising action, climax and the denouement] (Larry Liffiton; John

McAllister 30).

3. Descriptive Poem: It is a poem that describes the world that surrounds

the speaker. It uses elaborate imagery and adjectives. While emotional,

it is more "outward-focused" than lyric poetry, which is more personal

and introspective.

Moreover, there are some more types of forms, whether they have

consistent patterns, structure, or are free verse. Here are some more types of

poems that are subtypes of the three styles above:

1) Ode is a literary technique that is lyrical in nature, but not very

lengthy. You have often read odes in which poets praise people,

natural scenes, and abstract ideas (Literary Devices).

29

2) Elegy is a meditative lyric poem lamenting the death of a public

personage or of a friend or loved one; by extension, any reflective lyric

on the broader theme of human mortality (Encyclopædia Britannica). It

often uses "apostrophe" (calling out to the dead person) as a literary

technique. It can have a fairly formal style, and sound similar to an

ode.

3) Sonnet is a poem of fourteen lines; traditionally it uses the iambic

pentameter line. There are two basic kinds of sonnets: the Italian (or

Petrarchan) sonnet and the Shakespearean (or Elizabethan/English)

sonnet. Written sonnets in tetrameter or in some other way varied the

pure form (Oliver 59-60). The Italian/Petrarchan sonnet is named after

Petrarch, an Italian Renaissance poet. The Petrarchan sonnet consists

of an octave (eight lines) and a sestet (six lines). The Shakespearean

sonnet consists of three quatrains (four lines each) and a concluding

couplet (two lines). The Petrarchan sonnet tends to divide the thought

into two parts (argument and conclusion); the Shakespearean, into four

(the final couplet is the summary).

4) Ballad originated as a folksong that tells an exciting story. It is a

popular poetic form all over the world. People make up and sing

ballads in cultures that have no reading or writing, as well as in those

that do (Padgett 17).

30

5) Epic is a very long narrative (story) poem that tells of the adventures of

a hero. Homer's Iliad and Odyssey, Virgil's Aeneid, and Dante's Divine

Comedy are famous examples of epic poetry (Padgett 65).

6) Haiku is unrhymed Japanese poetic form consisting of 17 syllables

arranged in three lines (tercet) of 5, 7, and 5 syllables respectively

(Encyclopædia Britannica).

7) Limerick a five-line poem written in anapestic rhythm, with lines 1, 2,

and 5 containing three beats and rhyming, and lines 3 and 4 containing

two beats and rhyming (Padgett 98).

31

CHAPTER III

RESEARCH FINDINGS

A. Data Description

In this section, the analysis of Coleridge’s Kubla Khan will be presented to

answer the all of the research questions. The amount of data which will be

analyzed is thirteen data using bibliography technique (teknik pustaka). Mainly

the analysis will be divided into three categories: anastrophe analysis, generative

transformational grammar analysis, and pragmatic function. Anastrophe analysis

will contain the form of inversion structured in the poem, while generative

transformational grammar will consist of the tree diagram and its transformations.

The last, pragmatic function analysis will focus on the description of topic and

comment words in the poem.

B. Data Analysis

1. Anastrophe Analysis

After collecting and analizing the data, the writer finds ten from nineteen

sentences in Kubla Khan poetry following anastrophe patterns. He uses

bibliography to divide which sentence includes to anastrophe patterns. Here are

the list of the sentences containing the characteristic of anastrophe:

Table III.1.1. The Sentences Having the Characteristic of Anastrophe

No. Corpus Data Line

1. In Xanadu did Kubla Khan 1-2

32

A stately pleasure-dome decree:

2.

Where Alph, the sacred river, ran

Through caverns measureless to man

Down to a sunless sea.

3-5

3. And there were gardens bright with sinuous rills, 8

4. And here were forests ancient as the hills,

Enfolding sunny spots of greenery. 10-11

5. And from this chasm, with ceaseless turmoil seething,

As if this earth in fast thick pants were breathing, 17-18

6. A mighty fountain momently was forced: 19

7. Five miles meandering with a mazy motion

Through wood and dale the sacred river ran, 25-26

8 Then reached the caverns measureless to man,

And sank in tumult to a lifeless ocean: 27-28

9. And 'mid this tumult Kubla heard from far

Ancestral voices prophesying war! 29-30

10. A damsel with a dulcimer

In a vision once I saw: 37-38

11. And on her dulcimer she played,

Singing of Mount Abora. 40-41

12. Her symphony and song,

To such a deep delight 'twould win me 43-44

13.

That with music loud and long

I would build that dome in air,

That sunny dome! those caves of ice!

45-47

Furthemore, these sentences will be analyzed one by one to comprehend

the irregularity occuring in this poetry caused by anastrophe patterns. The analysis

can be seen in the following:

33

1.1. Kubla Khan decreed a stately pleasure-dome in Xanadu.

The sentence above is the canonical form without any inversion in

each word taken from the first sentence.

In Xanadu did Kubla Khan


The process of inversion is started with the preposed adverbial phrase ‘in

Xanadu’ to begining of the sentence. It happens basically because the author

wants to create the sense of depth to that phrase. The adverbial phrase structured

by prepositional phrase. Generally, the position of adverbial phrase is after the

verb phrase. Georgia Green states that somehow the preposed phrase in inversion

sentence is to indicate emphaticness (37f).

Then, the next inversion is the placement of ‘did’ before its noun phrase

(its grammatical subject) is to emphasis its verb ‘decree’. As for its position

before its main verb, it is due to the insertion of the adverbial phrase in the

beginning of the sentence. Essentially, it is happened for the author is willing to

keep the rhyme scheme.

1.2. Where Alph, the sacred river, ran down through measureless caverns

to a man to a sunless sea.

This is the conventional use before any inversion such this lyric:




34

The inversion following anastrophe pattern in this lyric is the exchanged

position of noun and adjective. Noun ‘caverns’ follows the adjective

‘measureless’, where commonly adjective follows its noun. The lyric is clear

enough that it has broken the grammatical rules. Then, another inversion is the

separated particle ‘down’ from its verb as phrasal verb and placing it before the

last prepositional phrase. This linguistic phenomena is quite common to find in

literature, in some cases it is intended to puzzled the readers in interpreting the

author’s intention.

1.3. And bright gardens were there with sinuous rills.

The sentence above is the official form from lyric in poetry below:

And there were gardens bright with sinuous rills,

The inversion is begun with the inverted noun and adjective. Frequently,

adjective follows noun, yet in this poetry lyric vice versa. Noun ‘gardens’ is being

preceded before adjective ‘bright’. The author aims to take more attention from

the reader to the attributed noun ‘gardens’, even though canonically it should be

written ‘bright gardens’.

The second inversion is the preceding adverb ‘there’ in the beginning of

sentence after the conjunction. It is found that its main verb ‘were’ follows noun

‘gardens’ (grammatical subject). Then, the insertion of adverbial phrase can

substitute noun and its main verb.

1.4. And ancient forests were here as the hills enfolding sunny spots of

greenery.

35

This clause is the canonical use transformed from the poetry lyric

below:

And here were forests ancient as the hills,

Enfolding sunny spots of greenery.

In this part, it is found an adverb inversion in which the placement of

adverb ‘here’ in the beginning of the clause after coordinator ‘and’, making the

verb ‘were’ follows its noun phrase ‘ancient forests’. It is relevance to what Rong

Chen said that adverb inversion is the inversion involving forms there, here,

nowhere as the pronoun for the original subject (2).

While another inversion occurs between noun and adjective. Generally,

adjectives follow nouns in sentences, but here noun follows its adjective. Noun

phrase ‘forest ancient’ should be written ‘ancient forest’.

1.5. And As if this earth were breathing in fast thick pants, from this

chasm, with ceaseless turmoil seething.

The sentence above is the common form use by society transformed

from the poetry lyric below:

And from this chasm, with ceaseless turmoil seething,

As if this earth in fast thick pants were breathing,

The inverted two adverbial phrases ‘from this chasm’ and ‘with ceaseless

turmoil seething’ placed earlier than its clause, means to give stressing meaning to

this lyric part. The author wants to describe the condition ‘earth’ through different

angle by putting adverb of place and manner at the beginning.

36

1.6. a mighty fountain was forced momently.

This is the canonical use inversed from the lyric below:

A mighty fountain momently was forced:

In this clause, an inversion occurs which is the inverted adverb

‘momently’. It is a common to putting the adverb after the verb phrase and its

noun phrase (grammatical object). Although in some culture putting adverb after

the verb phrase is common enough, even putting adverb before the verb phrase

sometimes called as the canonical one. and its verb phrase.

1.7. The sacred river ran five miles meandering with a mazy motion

through wood and dale.

The sentence above is the official use before anastrophe form comes.

Here is the sentence after inversion:

Five miles meandering with a mazy motion

Through wood and dale the sacred river ran,

The inversion begun with the preceded noun phrase (grammatical object)

‘five miles meandering’ then followed with the two prepositional phrases, and

finally noun phrase (grammatical subject) and its verb phrase ‘the sacred river

ran’. It is correlative as presented on Silva Rhetoricae, that one the characteristics

of anastrophe pattern is the object preceding its verb. It is occurred to create sense

of depth especially to the object.

1.8. Then it reached the measureless caverns to man, and it sank in tumult

to a lifeless ocean.

37

This is the canonical version before inserting any inversion. This is the

lyric:

Then reached the caverns measureless to man,

And sank in tumult to a lifeless ocean:

The inversion found here is the exchanged adjective and noun from its

canonical position. Noun ‘caverns’ follows its adjective ‘measureless’ in which it

should be written the vice versa. As mentioned before, this form is including the

anastrophe formula.

1.9. And Kubla heard mid this tumult ancestral voices prophesying war

from far.

This is the normal order of sentence before any inversion as the lyric

below:

And 'mid this tumult Kubla heard from far

Ancestral voices prophesying war!

The preceded adverbial phrase ‘mid this tumult’ before the clause ‘Kubla

heard’ is common in poetry. But the canonical use is vice versa. It is made to

emphasis that the condition where Kubla heard something is ‘mid this tumult’. In

the other case, the inverted adverbial phrase ‘from far’ and noun phrase

(grammatical object) ‘ancestral voices prophesying war’ made just to keep the

scheme of rhyme as the function of anastrophe itself to keep poetic rhyme.

1.10. I saw once a damsel with a dulcimer in a vision.

38

The sentence above is the ordinary version before inserting inversion

such lyric below:

A damsel with a dulcimer

In a vision once I saw:

The preceded noun phrase (grammatical object) ‘a damsel with a

dulcimer’ is to put special attention and focus to that phrase. It means that what

the author saw in his dream is a girl with a dulcimer. The author wants the readers

to focus on the object, then he adds an adverbial phrase ‘in a vision’ to give

stressing that what he saw is in his imagination only.

1.11. And she played singing of Mount Abora on her dulcimer.

The sentence is transformed from the inverted version below:

And on her dulcimer she played,

Singing of Mount Abora

The movement of adverbial phrase ‘on her dulcimer’ to the beginning of

the sentence after the conjunctor classified in the category of adverb inversion as

the part of anastrophe form. It is done to give sense of depth on that adverbial

phrase. The adverbial phrase formed from the prepositional phrase.

1.12. Her symphony and song would win me to such a deep delight.

The sentence above is the common use before any inversion such the

lyric below:

Her symphony and song,

To such a deep delight 'twould win me

39

The inversion in the lyric occurs when the insertion of prepositional phrase

between noun phrase (grammatical subject) and verb phrase. At glance, it baffles

the readers to interpret the meaning. Yet if the prepositional phrase is backed into

its canonical position, it is easier to understand the meaning. Such inversion

commonly used by the poets to make the poetry more appealing and eye-catching.

1.13. That I would build that dome in air, that sunny dome, those caves of

ice with loud and long music.

The sentence above is transformed from the inverted version from the

lyric below:




There are two inversions as the form of anastrophe in this verse. Firstly,

the reversed adverbial phrase ‘with loud and long music’ from its customary

position. The adverbial phrase constructed from prepositional phrase as it has

function as adverb of manner. It is formulated as the author is willing to emphasis

to that adverbial phrase as the focus of the sentence on that lyric.

Another form of anastrophe as mentioned in Silva Rhetoricae, is the

adjective following the noun it modifies. Correlated to this verse, two adjectives

come after its noun ‘music loud and long’. As we know, regularly adjective

follows the noun it modifies. It is structured not only to give special attention to

the noun but also to keep the scheme of rhyme related to the lyric before.

40

2. Generative Transformational Grammar Analysis

The lyrics show that the author wrote the poetry in aesthetic ways using

anastrophe patterns-do not pay attention to its canonical usage. But through this

research, the writer is willing to analyze syntax irregularity in Kubla Khan caused

by anastrophe patterns. He is going to analyze through Chomsky’s GTG by

mentioning the deep structure of each sentence from the thirteen sentences and its

transformations. Here are the deep structure of each sentence before transforming

to the surface ones:

2.1. Kubla Khan DECREE a stately pleasure-dome in Xanadu

The sentence above is the canonical form without any inversion in

each word taken from the first sentence.



To see the transformations obviously, here is the tree diagram of the deep

strcuture:

Tree diagram III.2.1.

41

The tree diagram above is the form of deep structure of the sentence

experiencing at least two transformations which are T-Supp or D-support

transformation and Inflectional transformation (T-Infl). In DO-Support

Transformation, the writer inserts do to fit the interrogative sentence out in which

lacks of an auxiliary verb in deep structure, the supporting auxiliary (DO + Ø) is

supplied following the tense maker. Then, inflectional transformation applied to

create the forms of words, particularly the modification of verb. The next

transformation of the same datum is below:


42

From the transformations above, there are two kinds of transformation

used, question transformation (T-Q), and adverbial transformation (T-AdvP).

Question or interrogative transformation created to fill the form of anastrophe in

which after the insertion of adverbial transformation that moved from its origin

position of adverb to the beginning of the sentence. The form of interrogative

transformation here is not to present the mode of interrogative sentence, but to do

the function of anastrophe after the insertion of adverbial phrase initially.

2.2. Where Alph, which is the sacred river, ran down through measureless

caverns to a man to a sunless sea.

Transformed from the surface structure:





43

The tree diagram III.2.3. highlights three process of transformations from

four transformations. There are inflectional transformation (T-Infl) which has

function to create form of the words particularly related to tenses of the verb;

relative-clause transformation (T-Rel) as a noun phrase is modified by a clause

that contains a noun phrase identical to the one being modified, so that noun

phrase within that clause is replaced by the appropriate relative pronoun (Veit

127); relative-clause reduction transformation (T-RelRed) inserted to reduce

relative pronoun and its verb in the deep structure; and the last is particle

transformation (T-Prt), which moves the particle of phrasal verb from it cononical

position. We can see the last transformation until the surface structure of this

sentence from the diagram below:

The diagram above is the form of surface structure which is found as the

origin lyric of the poem experiencing anastrophe pattern.

Tree Diagram III.2.4

44

2.3. And bright gardens BE there with sinuous rills.

The sentence above is the deep structure from the surface ones below:


Here is the tree diagram which contains four transformations:

Tree Diagram III.2.5.

Diagram III.2.5. containing four transformations from deep structure are

inflectional transformation (T-Infl), relative-clause transformation (T-Rel),

relative-clause reduction transformation (T-RelRed), and adverbial phrase

transformation (T-AdvP). The latter transformation has function to repost the

45

position of adverb to the beginning of the sentence while the two transformations,

T-Rel and T-RelRed, has an enormous impact on the process of transforming

anastrophe form which explaining the process of the exchanged adjective and its

noun, and its possibility to form such mentioned in the lyric.

2.4. And ancient forests were here as the hills enfolding sunny spots of

greenery.

This clause is the canonical use transformed from the poetry lyric

below:




46

Diagram III.2.6. shows the process of transformation from deep structure

through four transformations. As mentioned before, inflectional transformation is

put to form the verb after inserting tenses. The last three transformations,

adverbial transformation, relative-clause transformation, and relative-clause

reduction transformation hold huge role in the form of surface structure related to

the form of anastrophe as it explaining the process of the movement of adverbial

phrase to the beginning of the sentence and the process of the exchanged position

of adjective and noun.

2.5. And As if this earth were breathing in fast thick pants, from this

chasm, with ceaseless turmoil seething.

This is transformed from the surface structure below:




47

The process of transformation of the lyric above involves two basic

transformations, are inflectional transformation and adverbial transformations.

The movement of adverbial phrase into the beginning of clause is one of the form

anastrophe to emphasis the topic of the sentence. As the topic is a sentence or

phrase by being moved into a prominent position at the front of the sentence

(Radford 532). Hence, adverbial transformation here plays a big role making the

adverbial phrase as a topic of the sentence.

2.6. a mighty fountain was forced momently.

This is another form of anastrophe seen from its deep structure. As

deep structure is the underlying idea of sentence, it doesn’t represent

the final version of what actually spoken or written (Veit 99), such the

lyric below:



48

Tree diagram III.2.8. experiencing three transformation is the phase before

it faces the last transformation, adverbial transformation, to bring it to the surface

structure of the sentence. Here is the last transformation diagram:


The tree diagram in datum 6 has three main transformations and one of

them is the very common to use in forming anastrophe pattern, it is adverbial

transformation (T-AdvP). The rests are inflectional transformation (T-Infl) and

passive transformation (T-Pass). Passive transformation used to form the passive

sentence which occurs in this lyric. As mentioned before, the deep structure of the

sentence is the basic concept occurs in mind (mental grammar). While deep

structure has to be an active sentence (Veit 181), so it is found that the deep

structure as drawn from the diagram is an active sentence.

2.7. Five miles meandering with a mazy motion that the sacred river RUN

through wood and dale.

49

The sentence above is the official use before anastrophe form comes.

Here is the sentence after inversion:



s


Diagram above displays another form of anastrophe, two main

transformations have played crucial role here. There are relative-clause

transformation and relative-clause reduction transformation which made the

possibility of noun phrase movement to the prominent position in front of the

sentence while it is not the grammatical subject of the sentence. Here are the last

two transformations helping the process of anastrophe to the surface structure:

50


Supporting the previous explanation, the last two transformations are

relative-clause transformation and relative-clause-reduction transformation. The

two transformations appear to make the sentence rational by bringing relative

pronoun and omitting it as the part to gain the surface structure of the sentence.

2.8. Then it reached the measureless caverns to man, and it sank in tumult

to a lifeless ocean.

This is the continued clause from the earlier one which has the same

subject. It is transformed from the surface structure below:



Here are the transformation processes of the lyric above:

51

These are the tree diagram of the lyric which consists of three

transformations, are inflectional transformation, adverbial transformation, and

ellipsis transformation. The latter is applied to omit the occurrence of element

which has been mentioned before. As mentioned by Veit that ellipsis

transformation happens when an element occurs twice or more in a deep structure,

then the latter one can be omitted in the surface structure of the sentence (232).

2.9. And Kubla HEAR mid this tumult ancestral voices that prophesying

war from far.

This is the normal order of sentence before any inversion as the lyric

below:




52

Here are the processes of transformation containing four transformations:

The lyric above contains four transformations, are inflectional

transformation, relative-clause transformation, relative-clause reduction

transformation, and adverbial transformation. The four transformations are the

basic transformations that help forming anastrophe patterns. A type of anastrophe

occurs in this lyric, is full verb inversion. The main focal transformation here is

adverbial transformation.

2.10. A damsel with a dulcimer that I SEE once in a vision.

The lyric above is the deep structure of:



53


The tree diagram below shows the processes of transformation from the

deep structure until the surface ones:


Another type of anastrophe appears here, where the object preceding its

verb. It can be explained through these transformations. T-Prop applied to

describe the concept of pronoun in the mind of speaker before it appears in

surface structure. The preceding object of its verb made through relative-clause

transformation by adding ‘that’ as a bridge between the object and its verb. Here

is the tree diagram of the last transformation:

54

The last transformation completes the process of transformations. Hence,

five transformations showed in the process of transforming from the deep until the

surface structure, they are pronoun transformation (T-ProP), inflectional

transformation (T-Infl), relative-clause transformation (T-Rel), relative-clause

reduction transformation (T-RelRed), and adverbial transformation (T-AdvP).

2.11. And Abyssinian maid played singing of Mount Abora on Abyssinian

maid’s dulcimer.

The sentence is transformed from the surface structure below:



55

Singing of Mount Abora

To see the transformation, here below the tree diagram:

Diagram above presents three transformations the same as the previous

diagram related to the process of transformation. Adverbial transformation still

plays big role in preceding adverbial phrase as the part of full verb inversion. The

rest two transformations have function such the previous lyric. Pronoun

transformation draws the mental process in the author’s mind about the reference

of the pronoun in surface structure.


56

2.12. Abyssinian maid’s symphony and song WILL WIN THE SPEAKER to

such a deep delight.

The lyric above is the deep structure of the sentence below:



To see the transformations, here is the tree diagram of the deep structure:


The diagram highlights that adverbial transformation still acts large impact

in forming anastrophe patterns. In the other hand, inflectional transformation here

performed just to complete the process of verb variation while and pronoun

transformation does the phase of forming pronoun from its deep structure until its

surface structure.

57

2.13. That THE SPEAKER WILL BUILD that dome in air, that sunny dome,

those caves of ice with loud and long music.

The sentence above is transformed from the inverted version from the

lyric below:




Here is the tree diagram of the lyric above:


58

The last datum has five processes of transformations as it is found two

types of anastrophe pattern in this lyric. As mentioned in the previous analysis,

they are three at least that play crucial transformations, are adverbial

transformation, relative-clause transformation, and relative-clause reduction

transformation.

3. Pragmatic Function Analysis

Some irregularities occur in the poem caused by anastrophe patterns

mostly on five points, are subject auxiliary inversion (SAI), adverb inversion, full

verb inversion, the preceding object-noun of its verb, and adjective following

noun it modifies. The latter is the most often appeared irregularity in the poem as

it is the special characteristic of anastrophe form. This irregularity mentioned by

Lakoff as partly minor rules, particularly on WH-DEL (46). WH-DEL applied to

separate between adjective and its noun with exchanged position after inversion.

This irregularity somehow still possible to be explained even it seems regular,

grammatically correct, after looking to the analysis through transformations.

The form of anastrophe is not apart from the meaning and intention of the

author to write the prosody. Hence, the aim of applying anastrophe is correlated to

the functions of anastrophe itself. As Bengt Jacobsson states that inversion is

about the emphaticness of preposed element (36). So, it relates to the topic of the

sentence while topic is associated within the process of topicalization.

Kridalaksana states that topicalization is the part of pragmatic function as

proposed by Dik in his three functional relations. Topicalization becomes that last

phase after semantic and syntactic function (67). Topicalization, as uttered by

59

Geluykens, is all movement operations that involve front-shifting to sentence-

initial position (14). Later, topic is what the sentence is about while focus is what

is predicated about the topic (Horn and Ward 175). Then, as the author did apply

the anastrophe patterns to his poem, He is willing to give special emphasizing to

some preposed words or phrases as the topic of the sentences whereas the rests of

it as a focus or comment. Here are the analysis of Dik’s pragmatic function on the

poem regarding the result of anastrophe:

3.1. In Xanadu did Kubla Khan a stately pleasure-dome decree:

Topic Comment

In datum one, it occurs two type of anastrophe patterns which makes

possibly two topics, yet the main topic of the sentence is the prepositional phrase

doing the function as adverb of place. The possible second topic of this sentence is

the word ‘did’ which gives emphasis to its main verb ‘decree’.

3.2. Where Alph, the sacred river, ran through caverns measureless…

Topic Comment

The second datum takes noun phrase as the topic of the sentence which

becomes the main stress. The appositive type here does not only as the

grammatical subject of the sentence but also as the logical subject of this sentence.

Besides, the anastrophe pattern occurs in the comment phrase ‘caverns

measureless’ put stressing more to the noun rather than to its adjective.

3.3. And there were gardens bright with sinuous rills

Topic Comment

60

In datum 3, occurs the adverb inversion as the form of anastrophe. It

creates the topic of the sentence consisting of adverb of place. The rest phrase

plays as the comment of the topic which describing the main focus of the

sentence. Moreover, the topic of the sentence here does not perform logical

subject but the psychological ones.

3.4. And here were forests ancient as the hills, enfolding sunny spots…

Topic Comment

Datum 4 does the identical version of the previous datum in which adverb

becomes the topic of the sentence. So does the previous one, it also possibly

happens two topic where the word ‘garden’ preceded before its attribute ‘ancient’.

It arises due to the intention of the author to give more emphasis on the noun

rather than on its adjective.

3.5. And from this chasm, with ceaseless turmoil seething, as if this…

Topic Comment

In datum 5, the prepositional phrase which has the function as adverb of

place takes position as the topic of the sentence. The author puts prepositional

phrase in the beginning of the sentence rather than its logical subject. This is the

part of the uniqueness of the poetry through the form of anastrophe where the

author arranges the structure of the sentence randomly.

3.6. A mighty fountain momently was forced:

Topic Comment

61

The topic of the sentence in datum 6 commonly does also as the logical

and grammatical subject of the sentence. So the rest phrase plays as the comment

of the topic which does also as the predication of subject.

3.7. Five miles meandering with a mazy motion through wood and…

Topic Comment

In datum 7, the noun phrase takes position as the topic of the sentence and

does either as the psychological subject or the grammatical ones. While rest of the

phrase is explaining the previous phrase which completely has function as the

topic.

3.8. Then reached the caverns measureless to man, and sank in…

Topic Comment

Datum 8 highlights different phrase which plays as the topic of the

sentence in which verb phrase. It occurs due to the ellipsis word of the logical

subject, then the verb phrase takes position as the topic while the rest of the

sentence does the comment position.

3.9. And 'mid this tumult Kubla heard from far ancestral voices…

Topic Comment

Datum 9 displays that even a prepositional phrase could be the topic of the

sentence. It may be caused by the intention of the author of the poem to

emphasize that phrase rather than the next phrase which play more essential role

to the whole meaning of the sentence. So the prepositional phrase does the

function as adverb of place here.

62

3.10. A damsel with a dulcimer in a vision once I saw:

Topic Comment

In datum 10, the phrase ‘a damsel with dulcimer’ here took a position as

the topic of the sentence. However, the topic here does not have a function as

grammatical subject, but psychological subject only. As we know that the

grammatical subject here is ‘I’ which play as the comment.

3.11. And on her dulcimer she played singing of Mount Abora

Topic Comment

The phrase which take position as topic in datum 11, appears neither as the

psychological subject nor grammatical ones while it containing prepositional

phrase which has function as adverb of place and the rest phrase is the comment

of the topic in which explaining the first phrase. In spite of being comment of the

topic, the second phrase plays important role of the whole meaning of the

sentence.

3.12. Her symphony and song, to such a deep delight 'twould win me

Topic Comment

Datum 12 shows that the topic of the sentence possibly occurs also as the

grammatical subject of the sentence while the rest phrase is just the comment

elucidating the position of the first phrase. In this case, the topic or focus of the

sentence is noun phrase.

3.13. That with music loud and long I would build that dome in air…

Topic Comment

63

In datum 13, again, it highlights the prepositional phrase as the topic of the

sentences as the result of anastrophe form, full-verb inversion, while the rest

phrase becomes the comment. The prepositional phrase here does the function as

adverb of manner completing the phrase after it. The arrangement of noun before

its adjectives due to the form of anastrophe gives specific emphasis on the noun

‘music’ which is the core of the topic itself.

C. Discussion

Anastrophe has another purpose besides to create the sense of depth

through topicalization, it is also to keep the rhyme scheme. As stated, that rhyme

is the matching of final vowel or consonant sounds in two or more words; the

repetition of consonant or vowel sounds (DiYanni 728). It is relevance why the

author is willing to keep the poetic rhyme through anastrophe patterns, due to the

aim of rendering a pleasing effect to a poem which makes its recital an enjoyable

experience.

The first stanza for instance, consists of five lines or namely quintain,

rhyming ABAAB. Enjambment technique in structuring poem is one of the

popular techniques to form anastrophe patterns, besides to keep the rhyme

scheme, it also impels the readers to hurry on the curiosity about the missing part

of the phrase. It can be seen from lyrics below:





64


Later, the second stanza contains about six-line and rhyming AABCBC.

This is counted as sextet or stanza that contains six lines. The arrangement of

poem with anastrophe patterns affects the rhyme scheme. It is proven from the

lyrics below:

So twice five miles of fertile ground

With walls and towers were girdled round:


Where blossomed many an incense-bearing tree;



The third stanza is the same as the first one. But it does not occur the

process of anastrophe patterns here. The process of enjambment in this stanza is

not bothering the canonical structure of the sentence in general. So it does not

necessary to insert the inversion. This is the lyrics of the stanza:

But oh! that deep romantic chasm which slanted

Down the green hill athwart a cedarn cover!

A savage place! as holy and enchanted

As e'er beneath a waning moon was haunted

By woman wailing for her demon-lover!

Afterwards, the fourth stanza covers eight lines are called as an octave. It

has structured rhyme, are AABBCCDDEE. From the stanza, it arises at least three

forms of anastrophe patterns. The anastrophe helps the author to explore his

65

imagination without being afraid of the end of words on each line. It is shown on

the lyrics below:




Amid whose swift half-intermitted burst

Huge fragments vaulted like rebounding hail,

Or chaffy grain beneath the thresher's flail:

And 'mid these dancing rocks at once and ever

It flung up momently the sacred river.

Then, the next stanza consists of six-line or sextet with rhyme ABBACC.

It simply implies that it rhymes AAAACC just to see the end of letter in line, but

after listening to it pronunciation it supposed to be ABBACC. The rhyme scheme

here structured enough by the assistance of anastrophe patterns. Anastrophe

applied in all lines in this stanza. To see the stanza, here below:




And sank in tumult to a lifeless ocean;

And ’mid this tumult Kubla heard from far


The sixth stanza is identic to the previous one with six lines, but has no

inversion happens here. On the contrary, the seventh stanza occurs five patterns of

anastrophe. However the rhyme is a blank verse – metered verse with no rhyme

66

scheme. So it can be said that the process of anastrophe here just create sense of

depth without paying attention to the rhyme scheme. Here are the lines of the

stanza:



It was an Abyssinian maid


Singing of Mount Abora.

Could I revive within me


To such a deep delight ’twould win me,

The later one is stanza with three lines or triplet with the same end sound –

ABC- that is structured by inserting some inversions correlated to the

characteristic of anastrophe. The purpose is no more to keep the rhyme sounds

well, but to mystified the readers understanding with the structure of the sentence.

Here is the triplet:

That with music loud and long,



The last two stanzas are triplet with rhyme AAA and quatrain with rhyme

ABBA. Still no inversion occurs in both of them. To see the rhyme scheme of the

last two stanzas, here are:

And all who heard should see them there,

And all should cry, Beware! Beware!

His flashing eyes, his floating hair!

67

Weave a circle round him thrice,

And close your eyes with holy dread

For he on honey-dew hath fed,

And drunk the milk of Paradise.

As a result, the variation of rhymes and the inverted words or phrases as

the impact of anastrophe patterns have an immense correlation to other branch of

linguistics such pragmatics and even to the prosody or the study of literature. As

the process of writing a poem, the authors sometimes need to make it exclusive

through their aesthetic ways.

68

CHAPTER IV

CONCLUSION AND SUGGESTION

A. Conclusion

The structure of sentences in poetry often experiences some irregularities

particularly due to the anastrophe. In this thesis, Kubla Khan as a poem written by

Samuel Taylor Coleridge, undergoes that pattern namely anastrophe. Anastrophe

is a fairly customary technic for poets in creating poetry, as it used typically for

the aesthetic function. The author applies anastrophe in this poetry as technic of

writing which has two main purposes, are to emphasis the words or phrases

preceded to its prominent place and to maintain the rhyme scheme on each line.

In the research finding, it was found that a number of anastrophe forms

applied to this poem. Here are the list of anastrophe patterns occurred: adverb

inversion employed in datum 3 and 4; full-verb inversion used in datum 1, 5, 6, 7,

8, 9, 10, 11, 12, and13; adjective following the noun it modifies applied in datum

2, 3, 4, 8, and 13; the object preceding its verb worked in datum 10 and 12;

subject auxiliary inversion (SAI) operated only in datum 1. Each variety of

anastrophe form could even be done in only one sentence. It means two or more

form of anastrophe can be employed only in one clause or sentence.

Through generative transformational grammar, it was found that the

irregularity structured by the anastrophe patterns can be clarified within the

process of transformations. Initially, it can be seen beyond the deep structure of

each clause or sentence. Then the transformations process carries it until the

69

surface ones or what we see as the real sentence appeared. A number of

transformations help this process. Some of them take big role on the process of

forming anastrophe patterns. These are the lists of transformation DO-support

transformation (T-Supp), adverbial transformation (T-AdvP), relative-clause

transformation (T-Rel), relative-clause reduction transformation (T-RelRed),

particle transformation (T-Prt), question transformation (T-Q) and inflectional

transformation (T-Infl). Some of them play essential role in forming anastrophe

patterns like T-Rel, T-RelRed, and T-AdvP. These are the most often appeared

during the transformation process.

The use of anastrophe in this poem by the author is deliberately to give

aesthetic impression to the readers or listeners about the way He created the poem.

As anastrophe has two functions: firstly, to create sense of depth to the inverted

words or phrases. It means to carry the readers to the emphasis words or phrases

that the author wishes to give stress on them. As it occurs the process of

topicalization which is analyzed through pragmatic function, it is assisting the

process of preceding words and phrases to the prominent position. Secondly, to

keep its rhyme scheme sounds well. The enjambment process while employing

anastrophe made the ends of lines sounds rhythmical. Finally, some irregularities

caused by anastrophe in this poem can be elucidated throughout the generative

transformational grammar.

B. Suggestion

The writer would like to offer suggestion for those who are interested in

syntax study particularly while elucidating the irregularity in poetry:

70

1) When people who analyze the poetry using generative transformational

grammar, making sure the cause of irregularity occurs in that poetry.

2) When finding the cause of irregularity, trying to rearrange the sentences

within that poetry to its canonical form.

3) Ensuring to find their deep structures after the canonical arrangement and

the transformations until its surfaces.

Finally, the writer hopes this thesis can give positive contribution in

linguistics study, especially for the students of English Letters Department, Adab

and Humanity Faculty, State Islamic University of Jakarta, as an additional

reference in studying syntax.

71

CITATION

Alonso, Prado. Inversion Written and Spoken Contemporary English. Spain: Univ

Santiago de Compostela, 2008. Print.

Ba’dulu, Abdul Muis dan Herman. Morfosintaksis. Jakarta: PT. Rineka Cipta,

2005. Print.

Barnet, Sylvan, et al. Literature for Composition: Essays, Fiction, Poetry, and

Drama. New York: Longman, 2003. Print.

Brown, Gillian and George Yule. Discourse Analysis, Cambridge: Cambridge

University Press, 1983. Print.

Carnie, Andrew. Syntax: A Generative Introduction Second Edition. USA:

Blackwell Publishing, 2006. Print.

Chatman, Seymour. An Introduction to the Language of Poetry. Berkeley:

University of California, 1968. Print.

Chen, Rong. “English Inversion: A Ground before figure Construction”. New

York: Walter de Gruyter, 2003. Print.

Chomsky, Noam. Aspects of the Theory of Syntax. Cambridge: MIT Press, 1965.

Print.

---------------------- Some empirical issues in the theory of transformational

grammar Goals of linguistic theory, ed. Stanley Peters, 63-130. Englewood

Cliffs, N.J.: Prentice-Hall. 1972. Print.

Dick, Alexander and Christina Lupton. Theory and Practice Eighteen Century:

Writing between Philosophy and Literature. New York: Routledge Taylor

and Francis Group, 2015. Print.

Dik, Simon C. The Theory of Functional Grammar Part 2. Complex and Derived

Constructions. Ed. Kees Hengeveld. Berlin and New York: Mouton de

Gruyter, 1997. Print.

DiYanni, R. Literature: Approach to Fiction, Poetry, and Drama. New York:

McGraw Hill, 2004. Print.

Donovan, Melissa. “Breaking Grammar Rules in Poetry Writing”, Writing

Forward. N.p. 12 July 2012. Web. 26

Mar. 2016

72

<http://www.writingforward.com/poetry-writing/breaking-grammar-rules-

in-poetry-writing>

Dorgeloh, H. Inversion in Modern English: Form and function.

Amsterdam/Philadelphia: John Benjamins Publishing Company, 1997. Print.

"Elegy". Encyclopædia Britannica. Encyclopædia Britannica Online.

Encyclopædia Britannica Inc., 2016. Web. 03 Oct. 2016

<https://www.britannica.com/art/elegy>

Farkhan, Muhammad. Proposal Penelitian Bahasa dan Sastra. Jakarta: Adabia

Press, 2011. Print.

Geylukens, Ronald. “From Discourse Process to Grammatical Construction: On

Left-dislocation in English”, Amsterdam: John Benjamins Publishing, 1992.

Print.

Gideon, O. Burton. “Anastrophe” Silva Rhetoricae. Brigham Young University,

n.d. Web. 5 May 2016.

<http://humanities.byu.edu/rhetoric/Figures/A/anastrophe.htm>

Gill, Richard. English Literature Second Edition. New York: Palgrave,

1996.Print.

Green, G. M. (1980). “Some Wherefores of English Inversions”. Language 56:

582–601.

Gundel, Jeanette K. The Role of Topic and Comment in Linguistic Theory. New

York: Garland Publishing, 1988. Print.

Gyuris, Beata. The Semantics and Pragmatics of the Contrastive Topic in

Hungarian. Hungary: Library of the Hungarian Academy of Sciences and

Lexica Ltd, 2009. Print.

Halliday, M.A.K. An Introduction of Functional Grammar 4th

edition. USA:

Hodder Education, 2004. Print.

Hanifah, Anisah Haidaratul. “Transformational Generative on short story, All

Summer in a Day authorised by Ray Bradbury”. Linguistika Akademia Vol.3

(2014). Pars. 132-144. Web. 26 Oct. 2016.

<https://linguistikademia.files.wordpress.com/2014/10/010-anisah-edit.pdf>

http://www.writingforward.com/poetry-writing/breaking-grammar-rules-in-poetry-writing

http://www.writingforward.com/poetry-writing/breaking-grammar-rules-in-poetry-writing

73

Hazelton, Rebecca. “How line breaks shape meaning”. Learning the poetic line.

Poetry Foundation. 8 September 2014. Web. 30 September 2016.

<https://www.poetryfoundation.org/resources/learning/articles/detail/70144

>

Hogg, Richard M., N. F. Blake, Roger Lass, Suzanne Romaine, R. W. Burchfield,

and John Algeo. The Cambridge history of the English language. Vol. 2.

Cambridge: Cambridge U Press, 1992. Print.

Horn, Laurence R. and Gregory Ward. The Handbook of Pragmatics. United

Kingdom: Blackwell Publishing Ltd, 2006. Print.

Hudspeth, Jackie. “Anastrophe: Definition and Example”. Study.com. N.p, n.d.

Web. 26 Oct. 2015. <http://www.study.com/academy/lesson/anastrophe-

definition-examples.html>

Jacobsson, Bengt. A New Look at Negative and Correlative Subject–Auxiliary

Inversion in English, Studia Neophilologica, 79:1, 35-44, DOI:

10.1080/00393270701287421. 2007. Print.

Knickbocker K.L. et. al. Interpreting Literature. Florida: Harcourt Brace

Jovanovich, 1985. Print.

Kridalaksana, Harimukti. Sttruktur, Kategori, dan Fungsi dalam Teori Sintaksis.

Jakarta: UNIKA Atmajaya, 2002. Print.

Lakoff, George Philip. On The Nature of Syntactic Irregularity. Michigan: The

President and Fellows of Harvard College, 1966. Print.

----------------------- Irregularity in Syntax. New York: Holt, Rinehart and

Winston, 1970. Print.

LiteraryDevices Editors. “Inversion” LiteraryDevices.net. 2013. Web. 3 Nov.

2015. <http://www.literarydevices.net/inversion/>

----------------------- “Rhythm” LiteraryDevices.net. 2013. Web. 12 July. 2016.

<http://literarydevices.net/rhythm/>

----------------------- “Ode” LiteraryDevices.net. 2013. Web. 4 Nov. 2014.

<http://literarydevices.net/ode/>

Lorcher, Trent and SForsyth ed. “Examples of Rhythm and Meter in Poetry with

Analysis” Bright Hub Education. N.p. 17 Jan. 2012. Web. 25 June 2016.

https://www.poetryfoundation.org/resources/learning/articles/detail/70144

https://www.poetryfoundation.org/resources/learning/articles/detail/70144

http://www.study.com/academy/lesson/anastrophe-definition-examples.html

http://www.study.com/academy/lesson/anastrophe-definition-examples.html

http://literarydevices.net/ode/

74

http://www.brighthubeducation.com/english-homework-help/48906-rhythm-

in-poetry/

Parera, J.D. Dasar-dasar Analisis Sintaksis. Jakarta: Erlangga, 2009. Print.

Peskin, Joan. "Constructing Meaning When Reading Poetry: An Expert-Novice

Study." Cognition and Instruction 16.3 (1998): 235-63. Web. 22 Dec. 2016.

<https://disciplinas.stoa.usp.br/pluginfile.php/131619/mod_resource/content

/1/Think%20aloud%2>

Radford, Andrew. Transformational Grammar a First course. Cambridge:

Cambridge University Press, 2009. Print.

------------------------ Syntactic theory and the structure of English. Cambridge:

Cambridge University Press, 1997. Print.

------------------------ Analysing English Sentences: A Minimalist Approach,

Cambridge: Cambridge University Press, 2009. Print.

Roberts, Craige. Topic For the Handbook of Semantics. The Ohio State

University. August 2010. Web. 28

Dec. 2015 <http://www.ling.ohio-

state.edu/~croberts/Roberts.Topics.pdf>

Robert, Stanton. An Introduction to Fiction. New York: Holt Rinehalt & Winston

Inc, 1965. Print.

Rosenheim, Edward W. What Happens in Literature: A Guide to Poetry, Drama,

and Fiction. Chicago: The University of Chicago Press, 1960. Print.

Stanford, J.A. Responding to Literature. New York: McGraw Hill, 2003. Print.

Schmidt, D. A. A history of inversion in English. Ann Arbor: Mich. University

Microfilms, 1980. Web. 18 Nov. 2015.

Siswantoro. Metode Penelitian Sastra, Analisis Struktur Puisi. Yogyakarta:

Pustaka Pelajar, 2010. Print.

Strauss, Anselm L. Basic of Qualitative Research. United States of America: Sage

Publication, 1998. Print.

Subroto, D. Edi. Pengantar Metode Penilitian Linguistik Struktural. Surakarta:

Sebelas Maret University Press, 1992. Print.

Sustaita, Jesicca White. 2010, “Reconsidering the syntax of non-canonical

negative inversion”, English Language and Linguistics Vol.14 (2010): pars.

http://www.brighthubeducation.com/english-homework-help/48906-rhythm-in-poetry/

http://www.brighthubeducation.com/english-homework-help/48906-rhythm-in-poetry/

http://www.ling.ohio-state.edu/~croberts/Roberts.Topics.pdf

http://www.ling.ohio-state.edu/~croberts/Roberts.Topics.pdf

75

429-455. Web. 26 Oct. 2016.

<https://doi.org/10.1017/S1360674310000146>

Traugott, E. C. “Review of Irregularity in Syntax”. Language, 50 (1) (1974): pars.

161-169. Web. 22 May 2016. <http://doi.org/10.2307/412017>

Veit, Richard. Discovering English Grammar. USA: Houghton Mifflin Company,

1986. Print.

Wasow, Thomas, In The Handbook of Linguistics. Mark Aronoff and Janie Rees-

Miller, ed. UK: Blackwell Publishing, 2001. Print.

Wordsworth, William. “Ode: Intimations of Immortality from Recollections of

Early Childhood”. The Oxford Book of English Verse: 1250–1900. Arthur

Quiller-Couch, ed. N.d, n.p. Web. 25 Oct. 2015

<http://www.bartleby.com/101/536.html>

https://doi.org/10.1017/S1360674310000146

http://www.bartleby.com/101/536.html

76

APPENDICIES

Transformational Rules Terminology

Ø : Null (zero derivation)

Adj : Adjective

AdjP : Adjectival Phrase

AdvP : Adverbial Phrase

Art : Article

Aux : Auxiliary category within the verb phrase

Cjc : Coordinating Conjunction

Cjcl : Complementing Conjunction (Complementizer)

Cjs : Subordinating Conjunction

CompP : Complement Phrase or Clause

Det : Determiner

N : Noun

NP : Noun Phrase

V : Verb

VP : Verb Phrase

PP : Prepositional Phrase

Prep : Preposition

ProP : Personal Pronoun

ProR : Relative Pronoun

Prt : Particle

S : Sentence

SME : Someone or something

T-AdvP : Adverbial-phrase-movement-Transformation

T-Ell : Ellipsis Transformation

T-Infl : Inflectional-assigning Transformation

T-Pass : Passive Transformation

T-Prop : Personal-pronoun Transformation

77

T-Prt : Particle Transformation

T-Q : Question Transformation

T-Rel : Relative-clause Transformation

T-RelRed : Relative-clause-reduction

T-Supp : Do-support Transformation

Poetry “Kubla Khan”






So twice five miles of fertile ground

With walls and towers were girdled round:


Where blossomed many an incense-bearing tree;



But oh! that deep romantic chasm which slanted

Down the green hill athwart a cedarn cover!

A savage place! as holy and enchanted

As e'er beneath a waning moon was haunted

By woman wailing for her demon-lover!



78


Amid whose swift half-intermitted burst

Huge fragments vaulted like rebounding hail,

Or chaffy grain beneath the thresher's flail:

And 'mid these dancing rocks at once and ever

It flung up momently the sacred river.







The shadow of the dome of pleasure

Floated midway on the waves;

Where was heard the mingled measure

From the fountain and the caves.

It was a miracle of rare device,

A sunny pleasure-dome with caves of ice!



It was an Abyssinian maid,


Singing of Mount Abora.

Could I revive within me


79





And all who heard should see them there,

And all should cry, Beware! Beware!

His flashing eyes, his floating hair!

Weave a circle round him thrice,

And close your eyes with holy dread,

For he on honey-dew hath fed

And drunk the milk of Paradise.

a transformational analysis of anastrophe on...

Documents