Course Outline in Stylistics

De La Salle Lipa
College of Education, Arts and Sciences
English Language Area

Introduction to Stylistics (STYLIST)

Course Credit: 3 units

Pre-requisite: Teaching Reading and Writing


Course Description:

This course examines the essential concepts and techniques of literary stylistics, and uses literary texts to illustrate and explain a variety of English language structures. As well as to develop the ability to use the conceptual frameworks and schemes of linguistics and literature in understanding literary texts.

Course Objectives:

1. Sharpen ones awareness of how language works in literary text and author’s style in writing.
2. Analyze different literary texts applying basic features of linguistics.
3. Increase understanding of language resources and structures
4. Articulate an inward perception of the workings of a language and situate verbal technique of particular poems, short stories, extracts from novels, advertisements and plays.

Learning Plan or Topics:

Week                        Topics
1                        Orientation
2-3                        Literary Theories
                        Basic Concepts of Stylistics
4-6                        Need for the Study
                        Branches of Stylistics
                        Concern of Stylistics
7-8                        Varieties of Language
                        Functions of Stylistics
9                        MIDTERM EXAM
10-11                        Aspects and Features of Stylistics
12-14                        Sample Stylistic Analysis
                (poem, short story, novel, advertisements)
15-17                        Procedures of Stylistic Analysis
18                        FINAL EXAM

Course Requirements:
 
•    Assignments
•    Sample Stylistic Analysis
•    Written outputs
•    Quizzes
•    Major Exams
•    Class participation
•    Attendance
 <strike></strike>


Reference:
http://stylisticwriting.wordpress.com/2010/06/27/course-outline-2/

Stylistic Features of the Advertising Slogan

I. Introduction

A slogan is a form of verbal logo. In a print ad, it usually appears just beneath or beside the brand name or logo. A slogan sums up what one stand for, one’s specialty, the benefit, and one’s marketing position, and one’s commitment. It is especially useful to reinforce one’s identity. A slogan can prove to be more powerful than a logo. People can remember and recite your slogan while they are unlikely to doodle your logo. It is more important for your slogan to clearly state what you are about than to be clever, but if you can accomplish both, all the better. Slogans have two basic purposes: to provide continuity to a series of ads in a campaign and to reduce an advertising message strategy to a brief, repeatable, and memorable positioning.

The slogan should be used everywhere. Think of it as being attached to one’s name like a shadow; put it on business cards, printed ads, personal brochures, signs, letters, in the yellow pages -everywhere one can put it. The advertising slogan is always short and epigrammatic in nature. It helps to make the ad more impressive and memorable.

II. Body

1. At the graphetic level

1.1 Consistent use of initial capitalization.

Heinz: Beanz Meanz Heinz.
Toyota: I Love What You Do For Me.

To achieve an emphatic effect, the ad slogan is just like a headline which uses initial capitalization to attract more attention or to stress every word it says to impress the reader.


1.2 Sometimes full use of capitalization.

NewsWeek: THE WORLD’S NEWSMAGAZINE.

Oracle: SOFTWARE POWERS THE INTERNET.

Sometimes for the same reason as above, the ad slogan needs to emphasize every letter it uses or to make the ad slogan look trim and tidy.

2. At the phonological level


2.1 Use of rhymes.
2.1.1 Rhymes with brand name

Haig Scotch: Don't be vague. Ask for Haig.
Quavers: The flavour of a Quaver is never known to waver.

One of the best techniques for bringing in the brand name is to make the slogan rhyme with it. An ad slogan is better if it reflects the brand’s personality. By this kind of rhyming, the brand name is highlighted. The ad slogan is thus highly purposed. It can differentiate a slogan from others by the brand name and the special rhyming which is the identity of the slogan.

2.1.2 Rhymes - brand name mention

Viakal: It's the Viakal fizz that does the bizz!
Jaguar : Grace, space, pace.

A fall-back position is to use a rhyme and mention the brand name without it actually rhyming. It is not so effective, perhaps, because the brand name is not highlighted. The slogan is likely to lose its identity, because similar products can use the same ad slogan with a simple change of the product name.

2.2 Use of alliteration.

Allied Irish Bank: Britain's best business bank.
Greyhound: Greyhound going great.
Fila: Functional... Fashionable... Formidable...

Alliteration can help the slogans achieve the strong beating rhythm needed to make it a repeatable sentence. By so doing, the sentences are more slogan-styled. They can be easily remembered by the audience. Alliteration can also achieve an emphatic effect of the meaning.

3.1 Common uses of second person addressee “you”, “we”,”us”.

Avis Rent A Car: We try harder.
Fed ex: We live to deliver.


The use of second person addressee “you” tends to shorten the distance between the product or the producer and consumers, as if the producer or the ad is speaking to you face to face, making sincere promises, honest recommendations. In so doing, the ad slogans stand a better chance to move the receiver or customers to action, because the receiver feels that he is being thought of and taken care of and he is the center point of the producers.

The use of first person addresser “we” and “us” is the most direct way to tell the receiver what the sponsor of an ad slogan stands for, his idea, his view, and his credit. It’s a little bit like a self-introduction to the potential customers to let them know you, recognize you, believe you and trust you.

3.2 Use of unqualified comparison.

Coleman footgear: Better choice, better joys.

Admen have to abide by the code of commercial practice and stick to the rules of advertising. They should not advertise their product at the expense of others. So they resort to unqualified comparison to avoid defaming other products. (XUE Hangrong,2003:189) They can not say: “Brand X is better than brand Y.” Otherwise, unpleasant lawsuits will inevitably occur. They can say:

3.3 Use of “every” “always”, etc.

Always Coca-Cola.
Mitsubishi: Technically, everything is possible.

These words are often used in ads to indicate the universal application of the product or to include as many potential customers as possible or to achieve the emphasis of the product’s utility or the company’s unswerving commitment.

3.4 Use of “no”, “none”, etc.

Mercedes Benz: The pursuit for perfection has no finish line.
M&Ms melt in your mouth, not in your hand.

Negatives tend to be used very sparingly because the purpose of all ad slogans is to strengthen the positive side. But when negatives do occur, they are usually placed in an emphatic position to highlight the special the positive side.

3.5 Use of coined words.

Louis Vuitton: Epileather.
Burton Menswear: Everywear.
Gordon's & Tonic: Innervigoration.


Coined words are both new and memorable. Coined words are kind of smart words have a special meaning in the specified context. They can raise the interests of the ad slogan receivers, make them ponder upon the meaning and marvel at the smart idea of the admen. By so doing, they recognized the brand.

4. At the syntactic level.

4.1 Use of short simple sentences.

Sumsung Digitall-Everyone is invited.
GE: We bring good things to life.

The slogan must be short and simple; it can not afford to be complicated and clumsy. Short simple sentences are easy to remember, while one main aim of an ad slogan is to be memorable and recited. So short and simple sentences serve advertising slogans right.

4.2 Use of everyday sentences.

Nike: Just do it
Nestle: It’s the taste!

Every day sentences tend to be overly used in day life, but it can be very forceful when used in an ad slogan. These sentences travel very fast, because anyone can remember it without any effort. It can just hang upon people’s lips. It’s something popularized without much publicity.

4.3 Use of phrases.

Apple computer: think different
Malaysia Airlines: Beyond expectation.
Maxwell House: Good to the last drop.

Slogans are a kind of special writing form. They can almost do without subjects. Phrases may be better than if not as good as sentences. All kind of phrases can be put into use: noun phrase, verb phrase, preposition phrase, adjective phrase, etc. They are so concise and to the point that they are beyond our power to do any addition or subtraction.

4.4 Use of questions.

Ford: Have you driven a Ford lately?
Volkswagen Polo: R u Polo?

In ad headlines questions are often used to attract attention by mentioning the matter that concerns the customers most. They help to arouse the curiosity of the customers and entice them to read on to find the solution to the problem. Many slogans (also called themeline or tagline) begin as successful headlines. (Arens, William F. & Bovée, Courtland L. 1994: p.289) So it is not surprising that the slogan can use questions too for the same purpose.


4.5 Use of imperative sentences.

Express card: Don’t leave home without it.
United Airlines: Life is a journey, travel it well.

In an ad, the slogan is the last few words said. Although it’s just a few words, the admen don’t let it go at that. They use every opportunity to exhort the potential customers to act, to buy and to consume. The slogan is their last battle field to get people moved. It is not surprising that they would use imperative sentences to make a slogan while this kind of sentence is the most direct way to achieve the ideal effect.

4.6 Use of tense.

DeBeers: A diamond is forever.
Rossini: Time always follows me

Almost all the ad slogans use simple present tense to satisfy the customer’s desire to know the present state of the product he wants to buy. But there is another aspect of the simple present: its implication of universality and timelessness.

4.7 Creative use of idioms or proverbs

Financial Times: No FT, no comment.
IBM: I think, therefore IBM.

Idioms and proverbs are familiar to most potential customers in a society and have no difficulty to be popularized. The creative use of the idioms and proverbs can give them new meaning while making them memorable and campaignable.

5. At the semantic level.

5.1 Semantic ambiguity

Philips: let’s make things better.

Ad slogans have to conform to the code of commercial practice. Semantic ambiguity is needed to avoid any possible legal liability.

5.2 Use of puns

Moss Security: Alarmed? You should be.
Pioneer: Everything you hear is true.
Range Rover: It's how the smooth take the rough.

5.2.1 A really good pun can work miracles. However note the lack of brand identity in these otherwise excellent examples. Almost any competing brand could use these lines. Although they are good, they have no specific identity of their own.

Kenco Really Rich Coffee: Get Rich quick.
Finish Detergent: Brilliant cleaning starts with Finish.

5.2.2 In these lines, the brand name appears, but as the solution or promise rather than part of the pun. These slogans with brand name in it can help the name be remembered while offer a two layered meaning to the slogan. The second layer of meaning can interest and impress the people with its smartness and its novelty.

Citibank: Because the Citi never sleeps.
Quavers Snacks: Do me a Quaver.

5.2.3 Here the brand goes to work, as inextricably part of the pun.

III. Conclusion

All the above-mentioned stylistic features of ad slogans are necessary to make them neat, simple, original, strategic, memorable and campainable. The slogans are also a kind of poetic language, which we should pay attention to.

It is useful to conduct a more detailed study of the slogans; because more and more Chinese companies are going abroad to do their business and they need a good English slogan to establish their image in the world business arena. This study will also help the development of the Chinese ad slogans in China. Good ad slogans are forever.

By DING Xiaosong
English>Chinese translator
dingxiaosong@sina.com

reference:
http://www.albaglobal.com/article-print-1119.html

A STYLISTIC ANALYSIS OF “A TALE OF TWO CHANCES” By Paulo Bedonia

I. About the essay

An essay of looking forward and making the most out of the author’s amazing chance, a chance for the author to spend precious time to his father – who had been recently saved from a near-death experience due to his critical condition. As well as letting his father feels how he loves him so much. In the essay, the author narrated how anxious he became when he first knew the news. He related the full story of how his father suffered and survived. He also included in his essay what he felt and how worried he was at that time.

The author is an OFW at Thailand, and he was never home for many years. He is looking forward for his vacation in the Philippines this summer, for he wants to grab the amazing opportunity to spend time with his father.

II. Analysis

It is obvious in the first paragraph that whenever it pertains to the father the first letter of the pronoun are on capital letter like the words He and Him. It was consistent throughout the first paragraph. This gives more emphasis to the author’s main topic who is his father. Though it may seem absurd but the author just used this technique at the first paragraph of his essay.

Another dominant word in the essay is the author’s used of the pronoun I, this only shows that the essay was written personally and that it gives more emphasis on the affectionate feelings of the author to his father.

The author also used different words to pertain to the word father.
Father

- old man (adjective)
(It was used on the fourth paragraph and on the last paragraph)

- patriarch (noun)
(It was used on the fourth paragraph.)

The author used different words for he sees his father differently. He used the word old man to emphasize his father’s pitiful condition and also to mean that he was one’s a husband. On the other hand, he used the word patriarch to show that his father was a good provider and leader of the family. And lastly, the word father to highlight that his father is the typical father.

For the last three sentences of the essay he dominantly used in every sentence the word “Let me.”

“Let me wash my guilt as I promise to pick those young pomelo leaves and have their aroma mixed with the lukewarm water I will personally prepare for my old man’s morning bath. Let me be there and make the most of my being there for him. Let me play my part in this amazing chance I shouldn’t miss.

The author used such word for emphasis that certainly he will make the most out of his amazing chance to love his father dearly. He repeated the word “Let me” three times, which as if he is promising with his whole heart and soul that he will use the amazing chance the good Lord gave to him fruitfully and wisely.

The author used different tenses of the verb. But the past tense is more dominant in the essay. The verbs that were used mostly on the past tense, since the author is narrating and looking back from the past experiences their family got through. The only future tense was on the last three sentences of the essay. When the author used the word “let me” because he is still looking forward for the day, he can do the things he wants to do to his father.

III. Conclusion

Analyzing and looking thoroughly on how the author wrote the essay makes me understand better the content of the essay. Making a simple stylistic analysis allows me to apply all the knowledge we acquired in class. It is a good thing that we are exposed with this kind of activity, because in making a stylistic analysis you can look deeply on the text and make inferences as to why t he author wrote that way and the reason behind those styles.

The Dancers By Alberto Florentino

I. Introduction

The play The Dancer was written by Alberto S. Florentino Jr. It is a story of a poor family who struggles in the harshness of poverty. Because of poverty Mang Tomas (The father) wants his youngest daughter - Nenita to join Rita and make a living at a young age as dancer. The older brother – Tony does not approve to his father’s decision and the youngest sibling – Juanito seems become submissive and no longer argue with them. As well as their mother does not approve to her husband’s decision, but then Mang Tomas persistently insist because for him he has the rights and the authority to decide for his daughters being their father.

I chose this play because I was persuaded with the plot and the message of the play. The message of the play is very much timely in the current situation of our country. And the message it conveys is really true in our present situation.

II. Analysis

The actors and actresses in the play were able to execute well and give justice with their roles. They perfectly internalize their roles, by changing their tones, intonations and by the gestures they made. With these actions they were able to show to the audience their real roles in the play which helps the audience better understand the play. As for their way of enunciating words, some of them were audible and understandable. Because the audience laughs when they had a punch lines, when the audiences see something awkward they respond accordingly. Even though their dialogues required them to deliver it fast, still the audiences were able to respond well. In that case, it only means that the actors and actresses were able to catch the attention of the audience and their voices were clear enough to be heard by all.

Props, production and costumes play a very important role in a play. It plays as supplemental element to support the whole play. They used an improvised house for their background; some of their props were detailed or real such as the bench, the real chicken and the racking chair. But the props appear as if it was not well made and did not appear strong though the props contribute with the production of the play. The actors can freely move and did not get distracted with the presence of the props. As for their costumes, they were effective and were able support their characters well. On the other hand, their lights were limited but then the simplicity of their lights gave a great impact, effect and enhances their whole production. As well as their lights help the production of the whole play in conveying different moods expressed in the play and even their sound contributed to the whole play. It was encouraging especially when they integrate dancing at the course of their performance; it makes the audience attracted and directed them as to where their attention should be focused.

As for the improvement of the play, though all in all it was a good production maybe the blockings of the respective characters should be well rehearsed. For instance, where to exit or to enter whether on the left or right corner of the stage, in order for the whole play to be perfect. And it will then be achieved by having more practice.

All in all the play, was a good one. All the characters were able to act properly the characters they are portraying. The sounds, costumes, and props went smoothly and coincide with the whole production. It is a job well done performance.

III. Conclusion
As for the message of the play I can say that the theme the play wants to convey is that anything can happen or anything might lead to such unplanned decisions in life because of poverty. As a person we should not let poverty hinders us from achieving a good life. And also being a human we should take into consideration the people that might be affected of such decisions we made, we should not dictate other people whether they are an immediate family member because they still have their own feelings and decision in life that we should understand. This was evident when the father dictated and made a decision without considering the feelings and wellbeing of his daughter Nenita. We should be perseverance enough if we really want to make a difference and not be dictated to other else’ decision. We should stand to what we think is right for us.

Staking everything on it: A Stylistic Analysis of Linguistic Patterns in “Hills Like White Elephants”

I. Introduction

The essay performs a statistical analysis of the grammatical patterns in "Hills Like White Elephants" as a means of opening new avenues for its interpretation. The story's careful deployment of pronouns and use of repetition bridge its disparate themes, In addition, the ambiguous, repetitious language deepens the significance and raises the stakes of the couple's argument. These linguistic patterns underscore the emotional violence, broaden the significance, and complicate the closure of that argument.

"HILLS LIKE WHITE ELEPHANTS" is, if taken literally, a story in which little actually "happens": a couple has drinks at a train station in Spain and argues about something rather vague. A useful approach to such an enigmatic text is to examine the very language of which it is made. The story is, after all, a textual artifact, one that historically has been subjected to intensely close reading. A stylistic analysis of "Hills Like White Elephants" will enable us to see how, at the textual level, the story is able to manufacture such a rich interpretative web from ostensibly gossamer materials.

II. Body

a. Repetition of sentences:

It is through this repetition that much of the argument is played out. Within the economy of this short story, barely 1,500 words long, repeated items are notable. For example, the phrase "like white elephants," occurring five times, is lent particular significance by its titular status. The title describes the hills as being "like white elephants" rather than as "hills [that look] like white elephants."

This precise choice leaves the comparison based upon value rather than appearance. Jig even qualifies the description, stating that the hills "don't really look" like them except "through the trees". As with all of the story's repetitions, this instance creates significance by establishing a pattern and then deviating from it. The final repetition of "like white elephants" breaks the established pattern by shifting the comparison's focus from hills to a highly general noun, "things": "But if I do it, then it will be nice again if I say things are like white elephants, and you'll like it?". Thus, because the comparison is titular and repeated, and eventually becomes non-specific, it invites the substitution of other words for "hills."

The man repeats six variations on "I don't want you to do it if you don't really want to”. His fourth variation--"I don't want you to do it if you feel that way" alters and further specifies the conditions he sets for allowing her refusal. He requires that she "care about [herself]". And the fifth, interrupted repetition begins with an adversative conjunctive phrase--"But you've got to realize...” The repetitions, as well as the addition of this phrase, emphasize the man's persistence and power to change the conditions of agreement, as well as Jig's reluctance or inability to want or feel as he directs.

b. Lexical repetition:

In terms of lexical repetition, one instance is notorious: "Would you please please please please please please please stop talking?” This sounds like a command. However, it is made optative--it asks, rather than demands--by its modal use of "would" and the repetition of "please," emphasizing both the urgency of the request and its powerlessness. The strangeness of this sentence on the page goes beyond the conventions, as Gregory describes them (111), of writing meant to represent natural conversation. Its singular "oddness" its placement at the argument's end, and the fact that it is articulated as a request rather than a command, makes the sentence a central and prominent illustration of Jig's powerlessness, as well as her ardor.

c. Prominence of Question and answer:

Much of the dialogue in "Hills Like White Elephants" is a trading of questions and answers in which Jig asks a total of seventeen questions, thirteen of Which are polar, yes-no questions. The man asks only four questions, three of which he does not ask until the text is nearly finished. Hence the polarity of her questions-the man defines what is true, correct, or permissible by answering "yes" or "no". Authority shifts briefly from the man to Jig when she says "And we could have everything and every day we make it more impossible". He has to ask "What did you say?" and she defines the operation's consequences for him, that they cannot have everything (SS 276). But authority shifts back to the man when he refuses to stop talking, and Jig's final questions ask permission, as optative imperatives, to end the conversation. In her inability to demand an end, she can only threaten to scream.

d.words describing purely cognitive functions:

The story contains a large quantity of words describing purely cognitive functions. A list of forty-nine such uses includes "want" (17 times), "know" (12), "feel" (6), "care" (5), "think" (3), "realize" (3), "worry" (2), and "am willing" (1). The number of cognitive terms suggests that the text is focused on personal desire and the use of knowledge's authority in its pursuit.

III. Conclusion

In the story it was clearly shown that the man is the authority in the conversation. With the use of stylistic analysis we can infer through the analysis that the man is superior to the woman. That is the goodness of having a stylistic analysis. The readers can infer what the story is about by looking into the language in the story, which in a way did not deviate from its original theme when analyzed in literature.
I can say that in every relationship there should always be an open communication, a time to listen and be heard. A good conversation can happen or occur in a subtle and calm way. We should not let our emotions overpower our decisions and actions in life.

reference:
http://goliath.ecnext.com/coms2/gi_0199-567177/Staking-everything-on-it-a.html

Stylistic Analysis of Wordsworth’s Lines Written in Early Spring

Lines Written in Early Spring

I heard a thousand blended notes,
While in a grove I sate reclined,
In that sweet mood when pleasant thoughts
Bring sad thoughts to the mind.

To her fair works did Nature link
The human soul that through me ran;
And much it grieved my heart to think
What man has made of man.

Through primrose tufts, in that green bower,
The periwinkle trailed its wreaths;
And ’its my faith that every flower
Enjoys the air it breathes.

The birds around me hopped and played,
Their thoughts I cannot measure—
But the least motion which they made,
It seemed a thrill of pleasure.

The budding twigs spread out their fan,
To catch the breezy air;
And I must think, do all I can,
That there was pleasure there.

If this belief from heaven be sent,
If such be Nature’s holy plan,
Have I not reason to lament
What man has made of man?
1798

I. Introduction

Wordsworth is famous for his nature poems. He believes that in nature, man’s essential feelings can find better soil and can be better cultivated and strengthened. And he also thinks that man should find beauty, power and knowledge from nature. Nature is also the inspiration for most of his poems. So in his nature poem, we find vivid descriptions of mountains, rivers, flowers and birds etc. which are full of colors and imaginations. At the same time, his nature poems also reveal his spontaneous joys and thoughts in seeing and hearing the creatures of nature, often with boyish enthusiasm, and contrast his love of nature and his dissatisfaction with human society.

The poem consists of 6 stanzas, each stanza containing 4 lines. Thus the whole poem basically has strong and lively rhythmictiy indicating the early spring’s bright and light foot, as if nature is dancing to a piece of music with quadruple time in the early spring. All the creatures of nature—the primrose, the green bower, the periwinkle, the hopping and playing birds, the twigs swinging in the breezy air are dancing in pleasure.

II. Body

a. Rhythm

The basic rhythm is iambic tetrameter. And if the poem rhythm is all the same, the whole poem will be deadly and monotonous. What is more, the poet’s gloomy thoughts of mankind’s disharmony cannot have been indicated. A sensitive reader can easily find out that the rhythm changes somewhere. Firstly, the rhythm of each stanza’s last line changes into iambic trimeter. This means that the rhythm becomes slower and heavier. Almost each stanza’s last line is concerned with the thoughts of the poet. In the first two stanzas, “Bring sad thoughts to the mind” and “what man has made of man”, they are obvious belong to the thoughts of the poet provoked by the beautiful nature.

The next three stanzas’ last line, though they seem to be the pleasure of nature, in fact it’s the poet’s mind that thinks them happy and at the same time, contrasting with his deeper dissatisfaction with human society. All these show the poet’s sorrow deeper-mind provoked by nature. The changed slower and heavier rhythm complies perfectly to the poet’s grief. So in the poem, wherever concerning the poet’s mind, the rhythm changes to iambic trimeter.

b.Stress

The stress mostly adheres to the rhythm of iambic × / │× / │× /│× / │ (×stands for unstressed), which is just like the dancing tempo of the early spring. The stress also has some variations. In the last line of the first stanza “Bring sad thoughts to the mind”, the stress changes into × / │/ ×│× /│. Here both “sad” and “thoughts” are stressed, because at first the poem offers a happy picture of sitting in a grove hearing “a thousand blended notes” which makes a “sweet mind”, while the “pleasant thoughts” bring “sad thoughts to the mind”. The stressed “sad thoughts” emphasizes the change of mind, and draws readers’ attention, and let them wondering why in such attractive setting, there will be sad thoughts. And later in the next stanza the answer is offered—that is “and much it grieved my heart to think/ what man has made of man.” From the third stanza to the fifth stanza, the poet focus on the vivid descriptions of early spring, containing both the still and the active: tufts of primrose, full blossoming periwinkle, birds and the budding twigs. The next changed stress appears in the fourth stanza where it describes the birds. “The birds around me hopped and played,” here the rhythm changes into × / │× /│ /│× / │. It shows as if energetic birds were jumping lively and lightly, free of sorrow and sadness.

c. Semantic and Syntactic Deviation

In the first stanza, the poet introduces the attractive and striking grove where he enjoys nature and at the same time also has “sad thoughts”. The second stanza explains why there are “sad thoughts”. The reason is because nature linked human soul to her fair works, and the soul run through me and the thought of “what man has made of man” makes me grief.

The next deviation appears in the third line “And much it grieved my heart to think”. Here the adverbial “much” is marked. That strengthened the sorrow mind of the poet. We can imagine how sad the poet will be, while in such glorious natural world thinking of the disharmony of human society. From the third stanza to the fifth stanza, the poet describes the beautiful scenery of early spring, implying the most harmonious world of nature.
In the third stanza, different flowers in “that green bower” are pictured. “Through primrose tufts” indicates that primrose is just the background, the focus is on periwinkle, which “trailed its wreathes”. Here Wordsworth personifies flowers, the verbs “trail, enjoy and breathe” shows that the poet considers them as something full of thoughts and lives. And no matter what kind of them, no matter what role they are playing, “every flower enjoys the air it breathes.” See how harmonious the flowers are. In the fourth stanza, the birds are depicted. They hopped and played. Here again the poet uses personification to show how the birds are in accord with nature and how happy they are. Now let’s pay more attention to the second line “Their thoughts I cannot measure—”. In ordinary life, we usually will express it in this way “I cannot measure their thoughts”.
The fifth stanza is devoted to “the budding twigs”. Personification is used again. We see the twigs “spread out” their fan to “catch” the air and the twigs must be in pleasure as well. In these three stanzas, the flowers, birds and twigs are all personified and they are all greatly pleasant in the harmonious natural world. The sixth stanza comes back to the sad thoughts of the poet. After the descriptions of the beauty and harmony of nature, when we think again “what man has made of man”, we cannot but lament. The sorrow here reaches its climax. So here the poet uses a rhetorical question “Have I not reason to lament/ what man has made of man?” to show his powerful feelings.

III. Conclusion

Lines Written in Early Spring firstly introduces the charm and harmony of nature. Wordsworth offers a lively picture of flowers, birds and twigs, all being in harmony with nature by means of personification. In the attractive setting, Wordsworth then introduces his sad thoughts caused by the thought of “what man has made of man” with the variations of the rhythm, the stressed word and the deviations of syntax. In this paper, all the above has been analyzed in order to appreciate Wordsworth better and more easily.

Self Access Woksheet

FACTS ABOUT THE PLAY
Title: Cadaver
Author: Alberto S. Florentino
When published: 1954
Type of play/genre: drama

CONTENT
1. Setting
The play took place in an interior of a squalid, one room dwelling located on the edge of a cemetery in Manila.

2. When is it set?
It is set one night in a simple house in Manila.

3. The plot
The play is about a wounded ( physically, mentally, and spiritually) man – Torio who robs dead body in the cemetery as means of their survival. He believes that dead people cannot put you in jail and are not cruel compared to those people who are alive. Every time he robs a dead body he is with his friend – Carding who at first does not approve of their “job” but can’t do anything about it because he is poor and does not know anything for living. And as the play continues eventually Torio reveals to his partner – Marina his real “job” and Marina is so upset and can’t take it.

4. Characters
a. Torio – the wounded man in the play
-an insecure and jealous man
b. Carding – Torio’s friend and a slow-moving man
-a coward man yet sof-hearted
c. Marina – loving partner of Torio
-god-fearing person and a very understanding person

5.Message
The message that I got from the play are: “In whatever problems, God will be our last resort whatever happens, though it may be a bad or good one.” I was able to see this when after what had happened to them they still believes that God has plan and they lift everything to the Lord. Another message I got “True friends will never leave you, whoever you are, whatever you have done and whatever your problems are, for they are just there to support and help you.” I saw this during the time when Torio tends to be rude to his friend, but still Carding understands Torio and he never leaves Torio up to his last breath.

LANGUAGE
1.“The dead are not cruel and vindictive like living people do.”
2.“Friends should know how to forgive and understand.”
3.“God is always there looking after us.”

OPINION
1.Adjectives to describe the play
I can describe the play as something that is tragic.

2.The play is going to be performed and you are the director. Describe the costumes, scenery. lighting etc. you want for each act.
I would want to have a detailed costumes and props. Probably the costumes will be the typical clothes ordinary people wear, simple costumes will do. As for the lighting I would prefer it to be dim and I will not use vibrant colors as well as for the costumes of the actress and actors.

3. Would you recommend this play to anyone else? Why?
Yes, because although the play is very simple it really has something to imply to all of us. If we can just look into the details deeply we can learn something and be inspired.

4. Does this play remind you of any plays in your own language? If so, what?
Actually no, I can’t think of any play which is somehow similar with this play.