STYLISTIC ANALYSIS OF P.

B SHELLEYS
POEM SHELLEY TO SKYLARK

By
PARVEEN AKHTAR

A Thesis Submitted to the Faculty of Islamia University, English

Department, Peshawar, in Partial Fulfillment of the
Requirements for the Degree of
M.A English

ISLAMIA COLLEGE UNIVERSITY PESHAWAR

2012-2013

ABSTRACT
The aim of the thesis is to analyze Shelleys To a Skylark through the lens of
stylistics. The thesis consists of two parts. The first part defines stylistics. It
throws light on the historical background and origin of stylistics that how it got
developed from the ancient rhetorical field. It further defines style as a way of
expression and choice of vocabulary. It also shows the characteristics of style
that influences the definition of stylistics. Beside this it defines stylistics as study
of style in written and spoken language. It explores the characteristics in style of a
text that makes it different from the others. It also shows the effect of deviations
(grammatical etc.) and choice of vocabulary that why a writer has owned and what
effect it produces.
In the Second part of the research I have tried to analyze Shelleys To a Skylark
stylistically. The analysis studies the poem from grammatical, morphological, and
phonological levels, stylistically. And it further relates these effects to the theme
of the poem and discusses how far Shelley has succeeded in achieving his goal to
express his feelings and emotion.

CERTIFICATE OF APPROVAL
I certify that I have read Shelley to skylark:Stylistic analysis of p.b Shelley,s
poem shelley to skylark by parveen akhtar ; and that in my opinion this work
meets the criteria for approving a thesis submitted in partial fulfillment of the
requirements for M.A English at English Department of Islamia College
University Peshawar.

Supervisor

Name: Sir Waqar

Designation: Lecturer
Signature: __________________

DECLARATION

I, hereby declare that the research submitted by me is my own original work. I am

aware of the fact that in case my work is found to be plagiarized or not genuine,
authority has full access to cancel my research work and I am liable to penal
action.

Parveen Akhtar
Date: 10 June, 2013

ACKNOWLEDGMENT
With my whole heart I express my immense graduate and appreciation to almighty
God, who in his infinite mercy saw me through to this present time and this dream
a reality.
My profound and graduate also goes to my able supervisor Mr. Muhammad Waqar
Ali who guided and put me through in the course of writing. His cooperation and
effort towards the success of this long essay is immeasurable.
I give thanks to my parents Dr.Sher Latif and my brother Sajjad Ahmad Khan for
the parental love and advice given shown to me in the course of study from the
elementary level to this time. You are great, I pray to Almighty Allah that you may
live long.
My sister Shahida and brother Saeed Ahmad Khan you are wonderful. You are
concerned a lot to the success of this work.
I appreciate my uncle Dr. Sher Latif and his wife Miss. Farzand Bibi for their
caring attitudes.
My friends contribution cannot be left out Nusrat Hussain, Raheel, Shahida. I am
so grateful to you all.
Again I will be ingrate if I do not acknowledge my ever sparking uncle Dr Sher
Latif who during my stay in Peshawar took me as his own daughter.
You all are wonderful.
Thank you all.

TABLE OF CONTENTS
CHAPTER 1..........................................................................1
INTRODUCTION.................................................................1
1.1

RESEARCH PROBLEM..........................................................................1

1.2

AIMS AND OBJECTIVES.......................................................................2

1.3 SCOPE OF THE STUDY..............................................................................2

1.4 RESEARCH METHODOLOGY...................................................................2

CHAPTER 2.......................................................................3
LITERATURE REVIEW.....................................................3
2.1

INTRODUCTION.....................................................................................3

2.2 STYLE...........................................................................................................3
2.3 STYLISTICS..................................................................................................4
2.4 APPROACHES TO STYLISTIC ANALYSIS...............................................6
2.5 LEVELS OF STYLISTIC ANALYSIS..........................................................8
2.6 ELEMENTS IN STYLISTIC ANALYSIS.....................................................9
2.6.1

Lexico-syntactic patterns include.......................................................9

2.6.2

Lexico-syntactic choices..................................................................10

2.6.3

Phonological devices........................................................................11

2.6.4

Graphological Devices.....................................................................11

2.6.5 Morphological devices Include.............................................................12

CHAPTER 3.....................................................................15
DATA ANALYSIS................................................................15
3.1

THE AIM OF STYLISTIC ANALYSIS..................................................15

3.2

ANALYSIS ON THE LEVEL OF SYNTAX/GRAMMAR....................15

3.3

DISTRIBUTION OF NOUN PHRASES IN POEM...............................16

3.4

PHONOLOGICAL ANALYSIS..............................................................18

3.5

CONSONANCE OF |M|, |T|....................................................................18

3.6

REPETITION..........................................................................................18

3.7

HIGHER STILL AND HIGHER.............................................................19

3.8

IMAGERY/COMPOUND.......................................................................20

3.9

RHETORICAL DEVICES......................................................................21

CHAPTER 4.....................................................................23
SUMMARY AND CONCLUSION....................................23
4.1 SUMMARY.................................................................................................23
4.2 CONCLUSION............................................................................................23

BIBLIOGRAPHY.....................................................................25

Appendix I...........................................................................26

CHAPTER 1
INTRODUCTION
Stylistics is a word derived from style; it is a discipline which studies different
styles. It can refer to the study of proper use of words or language improper
places. Widdowson (1975) defines stylistics as the study of literary discourse
from a linguistic orientation (p. 3). He goes further by saying that what
distinguishes stylistics from literary criticism on the one hand, and linguistics on
the other, is that it is essentially a means of linking the two and has (as yet at least)
no autonomous domain of its own. He also added that stylistics, however involves
both literary criticism and linguistics, as its morphological make-up suggests: the
style component relating it to the former and the istics component to the latter.
Style has grown to mean so many things to so many people today. Carter (1989) is
of the view that it is generally recognized that the style of work can depend on
linguistic levels-often simultaneously and that one fairly crucial factor is our
expectation concerning the literary form or genre employed. Haynes (1989)
believes that the study of style is the study of distinctions: looking at what was
said against what might have been said. Style is almost synonymous with variety.
Style refers in a simple way to the manner of expression which differs according
to the various contexts. Style, being a versatile field, is defined depending on
ones field of study. Adejare (1992) makes this clear when he said that style is an
ambiguous term .Lawal (1997) however, describes style as an aspect of language
that deals with choices of diction, phrases, sentences and linguistic materials that
are consistent and harmonious with the subject matter. He added that it involves
the narrative technique of a writer in terms of choice and distribution of words and
character. Lawal (1997) also added that it may be reckoned in terms of the
sociolinguistic contexts and it may also be reckoned or analyzed on linguistic,
semantic and even semiotic terms.

1.1 RESEARCH PROBLEM

This research notes that the stylistic analysis of this poem has not been done, so
this research will address itself to analyzing this poem stylistically and examining
the uniqueness of stylistics as it combines both linguistics and literary studies as it
1

pertains to this poem. It is also addressing itself to examining how words are put
together in transferring of message to the readers.

1.2 AIMS AND OBJECTIVES

The ultimate aim of this research is to explore ways in which language use has
been integrated in the poem. This refers to the recurrent features of stylistics
employed by the writer. In the same vein, this work will be concerned with
striking and marked use of words in this poem in order to enhance effective
transfer of message. The effects and functions of the stylistic elements as regards
the poem will be looked at in the analysis.

1.3 SCOPE OF THE STUDY

This work shall be exclusively stylistic, and analysis will be conducted through
the use of the following levels of analysis: lexico-syntactic patterns and choices,
phonology, graphology and morphology. Analysis will be conducted using the
stylistic elements in each of the above mentioned levels of analysis, such that it
could provide a guide and be relevant to future researchers in a related field.

1.4 RESEARCH METHODOLOGY

The data for analysis have been selected from the poem. Introduced and annotated
by Shelleys Poem to a Skylark. The poem consists of sixteen stanzas, and was
written in 1977. The poems will be analyzed stylistically and the five levels of the
analysis already mentioned will form the basis of the analysis.

CHAPTER 2
LITERATURE REVIEW
2.1 INTRODUCTION
There are divergent scholarly views on what stylistics means and what it entails as
opinions differ from scholar to scholar. Several ideas are discovered although they
are considered not to be too far from one another, varying submissions on
stylistics have been proved by critical studies to be of a similar message but
different voices. This chapter is aims at reviewing related literatures it pertains to
stylistics.

2.2 STYLE
The concept of style has a troubled history in the modern period both within and
outside literary study. It has commonly been argued that we use the term style
without knowing its meaning. According to Leech (1969) style is the way in
which something is spoken, written or performed. Narrowly interpreted, it refers
toward use, sentence structures and figures of speech. More broadly, style is
considered to be a manifestation of the person speaking or writing. He further
refers to style as elocution- a Latin term which means style and also means lexis
in Greek. Elocution means the style and diction of a language. Leech and Short
(1981, p. 10) believe that the word style has a fairly uncontroversial meaning: it
refers to the way in which language is used in a given7context, by a given person,
for a given purpose, and so on. Birch (1989) says that language and style never
moves beyond a concentration on the supremacy of words; he believes firmly that
these words somehow contain meanings and is effectively language manipulated
in ways that signal it as different from ordinary language. Carter (1989) cites that
it is generally recognized that the style of work can depend on linguistic effects
produced at a number of different linguistic levels often simultaneously, and that
one fairly crucial factor is our expectations concerning the literary form or genre
employed. Leech and Short (1981) also believe that it is a selection from a total
linguistic repertoire that constitutes style. Style can be applied to both spoken
and written, both literary and nonliterary varieties of language but by tradition, it
is particularly associated with written literary texts. Leech and Short (1981) argue

further that the distinction between what a writer has to say, and how it is
presented to the reader, underlies one of the earliest and most persistent concept of
style: that of style as the dress of thought(p. 15). They add that although this
metaphor of style as some kind of adornment or covering of thought or
meaning is no longer widely current, it frequently appears in Renaissance and
rationalist pronouncements on style, and is implicit. In this view, which prevailed
throughout the Renaissance period, devices of style can be catalogued. The
essayist or orator is expected to frame his ideas with the help of models, sentences
and prescribed kinds of figures suitable to his mode of discourse. OloruntobaOju (1999, p.127) believes that style is almost synonymous with variety; it refers
in a simple way to the manner of expression, which differs according to the
various contexts. He further added that stylistic variation maybe reckoned in
terms of the sociolinguistic contexts producing the variation. For instance, styles
may differ according to place (e.g. Western or African), time (e.g. Old English,
new English, Classical Poetry, and Modern Poetry etc), individuality (e.g. the style
of Shakespeare, style of Soyinka) and mode (written, spoken, complex, poetic,
informal etc).Style or stylistic variation may also be reckoned or analyzed in
linguistic terms e.g. sentence types, phonological elements, morphological variety,
lexical variety: rhetorical terms (e.g. figures of speech) semantic terms, and even
semiotic terms.

2.3 STYLISTICS
Many attempts have been made by different scholars to define stylistics. To
Freeman (1971, p.1) stylistics, is a sub-discipline which started in the second half
of the 20th century. It can be seen as a logical extension of moves within literary
criticism early in the 20th century to concentrate on studying texts, rather than
authors. To Leech and Short (1981, p.13) stylistics is simply defined as the
linguistic study of style, is rarely undertaken for its own sake, simply as an
exercise in describing what use is made of language. They are also of the view
that we normally study style because we want to explain something; and in
general, literary stylistics explains the relationship between language and artistic
function. Short and Candlin (1989, p.183) are of the Short and Candlin (1989,
p.183) are of the view that stylistics is a linguistic approach to the study of the

literary texts. It thus embodies one essential part of the general course philosophy; that of combining language and literary study.Widdowson (1975,
p.3) defines stylistics as the study of literary discourse from a linguistic
orientation. He takes the view that what distinguishes stylistics from literary
criticism on the one hand and linguistics on the other is that it is a means of
linking the two. He also proposes that stylistics occupies the middle ground
between linguistics and literary criticism and its function is to mediate between
the two. In this role, its concerns necessarily overlap with those of the two
disciplines. Carter (1988) also agrees with Widdowson. He also believes that
stylistics is essentially a bridge between linguistics and literature, and there are
always arguments about the design of the bridge, its purpose, the nature of the
materials and about the side it should be built from. Stylistics studies devices in
languages such as rhetorical figures and syntactical patterns that are considered to
produce expressive or literary style. Stylistics is therefore a field or study that
combines both literary criticism and linguistics as its morphological make-up
suggests: the style component relating it to literary criticism and the
isticscomponent to linguistics. Widdowson (1975, p.3) claims that stylistics can
serve as a means whereby literature and language as subjects can, by a process of
gradual approximation, move towards both linguistics and literary criticism; and it
is also a means whereby these disciplines can be pedagogically treated to yield
different subjects. He further suggests that stylistics can provide for the
progression of pupil from either language or literature towards either linguistics or
literary criticism respectively. Carter (1988, p. 4) proposes that practical stylistics
is a process of literary text analysis which starts from a basic assumption that the
primary interpretative procedures used in the reading of a literary text are
linguistic procedures. He added that stylistic analysis can provide the means
whereby studying of literature one can relate a piece of literary writing to ones
own experience of language and so can extend that experience. Carter (1988,
p.10) sub-categorized it into 5 sections.
1. Linguistic Stylistics In several respects, linguistic stylistics is the purest form
of stylistics in that its practitioners attempt to derive from the study of style
and language variation some refinement of models for the analysis of language
and thus contribute to the development of linguistic theory.

2. Literary Stylistics A distinguishing feature here is the provision of basis for

fuller understanding, appreciation and interpretation of avowedly literary texts.
Although a precision of analysis mode available by stylistic methods offers a
challenge to established methods of close reading or practical criticism of
texts, the procedures of literary stylistics remain traditional in character in
spite of developments in literary theory which challenge assumptions about
the role of language in depicting literary realities.
3. Style and Discourse Work in stylistics within this category acknowledges
that style is not an exclusively literary phenomenon and addresses itself to the
description and characterization of stylistic effects in a wide range of discourse
types. Fowler (1986) calls it linguistic criticism.
4. Pedagogical Stylistics There are a number of issues deriving from deeprooted divisions between linguistic and literary critics but which still require to
be considered; which emerge in the context of debates concerning the
pedagogical relevance of stylistics. Stylistics and the foreign language learner
Perhaps because questions of language and learning are more widely
addressed in the domain of foreign language learning than in the no less
important area of mother tongue language development, issues of pedagogy in
relation to stylistics, literature and language study can be more easily
surveyed. However, there is a growing recognition that integration of language
and literature can be of mutual benefit in the context of foreign or second
language education and that a situation of literary education; conducted by
exposure to a canon of texts in English literature mainly through a method of
lecture may be in need of modification on a number of counts.

2.4 APPROACHES TO STYLISTIC ANALYSIS

There are different approaches to the analysis of styles of texts. In other words,
there are various ways of analyzing texts.Lawal (1997) in his own view identifies
these factors as approaches while Babajide (2000) on his own part defines them
as concepts. The two of them, however, give similar points. Style is personality
or individuality. Style is a relational term: we talk about the style of x referring
through style to characteristics of language use, and correlating these with some
extra linguistic Leech and Short (1981, p.11) believe that traditionally, an

intimate connection has been seen between style and an authors personality.
Deriving largely from idiolect this largely prove that every individual or person
is unique in one way or the other. Style as Choice from Variants. This approach is
backed with the fact that every phenomenon has many possible alternatives that
form the variants. It constitutes selection from a total linguistic repertoire. Each
individual has the right to choose from the available possibilities that which is
appropriate and fits into his work. This approach is usually prominent in
paradigmatic and syntagmatic relations among linguistic elements.
Style as deviation from the norm as Language is a behavior governed by rules and
norms. When something is done in a quite different way from how it is usually
done, then that is said to be a deviation from the norm. This is achieved by
reconstruction from the structural resource of language to extend the frontiers of
current usages. This concept is most common at both the lexical and the syntactic
level and used mostly for effective communication.
Style as situation or relationship between message and medium Language use
does not occur in a vacuum, the message and medium are always of importance.
The medium can be formal or informal, spoken or written and so on. Different
language use is determined by the different context of operation. In other words,
there are variations in language use. For example, the kind of language used in the
courtroom will be different from the one used in the classroom and so on. By and
large it is obvious that the concept of medium and message is indispensable in
stylistics.
Style as a temporal phenomenon According to Babajide (2000) style changes as
nothing in life is static abreast of time. Therefore, style can be referred to as being
old or new, in or out of vogue, modern or ancient. There are features for certain
periods; thus language style changes according to time, and style is recognized by
the predominant features of the period. In the world of language, there are
Chaucerian and classical epochs, differentiated by features. Old English, Middle
English and Modern English periods, Elizabethan, Victorian and Renaissance age
with peculiar features: both literary and linguistic. Using any of the aforesaid
approaches, stylistic analysis could be conducted by means of the levels of

analysis. We therefore explain briefly the levels of stylistic analysis and the
elements under them.

2.5 LEVELS OF STYLISTIC ANALYSIS

A text can be stylistically analyzed on different levels. Crystal and Davy (1969 as
cited in Alabi2007, p.170) write graphology is the study of writing system or
orthography as seen in the various kinds of handwriting or topography. Leech
(1969) believes that graphology transcends orthography. It refers to the whole
writing system: punctuation and paragraphing as well as spacing.Alabi (2007)
added that a graphological discussion of style among other features entails the
foregrounding of quotation marks, ellipses periods, hyphens, contracted forms,
special structures, full stop, colon, comma, semicolon, question mark, dash, lower
case letters, gothic and bold prints, capitalization, small print, spacing, italics and
so on.
Phonology: Ofuya (2007) is of the view that phonology describes the ways in
which speech sounds are organized in English into a system (p. 14). Lodge
(2009, p.8) believes that phonology is the study of linguistic systems:
specifically, the way in which sound represents differences of meaning in
language. Phonology in stylistics usually deals with analyzing sound patterns in a
piece, the systemic use of sounds to form words and utterances in language.
Phonological devices are obtained through the repetition exhibited. For example
in rhyme elements, alliteration, consonance, assonance and phonaesthesia.
Morphology: Mark and Kirsten (2005, p.1) say morphology refers to the mental
system involved in word formation or to the branch. Mark and Kirsten (2005, p.1)
say morphology refers to the mental system involved in word formation or to the
branch of linguistics that deals with words, their internal structure, and how they
are formed. Morphological level of analysis is concerned with word formation
processes subjected to specific conditions and rules of the processes of affixation
the prefix, suffix and the root words, coining, back formation etc.
Lexico-Syntax: This is a word formed by the combination of two different words
lexis and syntax. Lexis is the total vocabulary that makes up a language or the

body of words known and used by a particular person. Syntax, according to Taller
man (1998, p.1) means sentence construction: how words group together to
make phrases and sentences. It is also used to mean the study of the syntactic
properties of languages; in this sense it is used in the same way as we use
stylistics to mean the study of literary style.Lexico-Syntactic patterns may be
obtained through various means which include unusual or inverted word order,
omission of words and repetition.Lexico-Syntactic choices are obtained through
devices such as piling of usual collocates, unusual collocates, archaic words,
particular parts of speech, metaphor, simile, oxymoron etc.

2.6 ELEMENTS IN STYLISTIC ANALYSIS

The elements under each of the levels of analysis mentioned above are discussed
briefly below.
2.6.1

Lexico-syntactic patterns include

Anastrophe: Alabi (2007, p.163) says anastrophe is the inversion of the natural or
usual word order. The use of anastrophe secures emphasis and focuses the
readers/hearers attention. According to Alabi (2007, p.163) parenthesis entails
the insertion of some verbal unit (extra information, and after a thought or a
comment) in a position that interrupts the normal syntactical glow of the
sentence.Alabi (2007, p. 163) cites that Ellipsis entails the deliberate omission of
a word or words, which are readily implied by the content: it is used to create
brevity reemphasis or ambiguity. Asyndeton is the deliberate omission of
conjunctions between a series of related clauses. Asyndeton produces a hurried
rhythm in the sentence. Corbett (1971, p.470) cites Aristotles observation that
asyndeton was especially appropriate for the conclusion of a discourse, because
there, perhaps more than in other places in the discourse, we may want to produce
the emotional reaction that can be stirred by, among other means, rhythm.Alabi
(2007, p.164) cites that anaphora entails the repetition of the same word or phrase
at the beginnings of successive stages of the chosen pattern. The repetition of the
words helps to establish a marked rhythm in the sequence of clauses, this scheme
is usually reserved for those passages where the author wants to produce a strong

emotional effects. In epizeuxis, according to Alabi (2007, p.165), one repeats a

word or phrase without any break at all.
2.6.2

Lexico-syntactic choices

Pun- Alabi (2007, p.167) states that punis the genetic name for the figure of
speech in which the writer playson words. It is a figurative expression in which a
speaker plays on a word or phrase to suggest double meanings. A speaker may
also play on two or more semantically different but orthographically or
phonologically similar words to construct a thought provoking statement. It is
often employed to display linguistic process or verbal dexterity and ultimately
entertains the audience. Anthimeria In the words of Alabi (2007, p.168) this is
the substitution of one part of speech for another. Employing a part of speech in a
sentence or a group of words instead of another. Periphrasis (antonomasia) Alabi
(2007, p.168) says this is the substitution of a descriptive word or a phrase for a
proper name or of a proper name for a quality associated with the name. It can
also be described as an expression in which a celebrated person, event or place is
used to represent another person, place or event as a result of a similar quality
present in them.
Hyperbole Alabi (2007, p.168) cites that this is the use of exaggerated words, a
figurative expression in which a fact or a situation is blown out of proportion. It
is an overstatement of a fact in the course of emphasizing it or as a result of over
enthusiasm for it. Hyperbole gives emphasis or produces humor. Personification
invests abstractions or inanimate object with human qualities. In other words a
quality associated with man is given to a nonliving phenomenon thereby making it
look like a person. It is also called prosopoeia and personification stirs emotions.
Paradox Alabi (2007, p.168) says this is a seemingly contradictory statement,
which happens to be true. Paradox is a kind of expanded oxymoron. It is also an
expression which is obviously absurd or unreasonable, but will become logical or
reasonable on a closer look or a deeper thought. Synecdoche Alabi (2007, p.167)
believes that this is the employment of part of the referent to stand for the whole
or vice versa.

10

According to Alabi (2007, p.168) oxymorons a figure of speech in which two

contradicting words are placed side by side in a statement thereby making it sound
self contradicting. In other words oxymoron yokes two terms which are ordinarily
contradictory. Alabi (2007, p.167) believes that both metaphor and simile are
related to the topic of similarity, for although the comparison is made between two
words of unlike nature. Metaphor gives clearness and liveliness to words. Alabi
(2007, p.166) says that archaic or difficult words are used to show level of
education or social accomplishment, they are attention focusing. Synonyms,
hyponyms/hyponyms are part of lexical means of achieving cohesion in discourse.
They are means of unifying the discourse. The deliberate preponderant choice of
particular parts of speech in discourse sometimes gives precise and accurate
descriptions. They are means of achieving cohesion in discourse.
2.6.3

Phonological devices

According to Abrams (1981, p.163), the Standard English rhyme consists in the
identifying, in rhyming words, of the last stressed vowel and of all the speech
sounds following that vowel. End rhymes occur at the end of a verse-line while
internal rhymes occur within a verse-line. Alliteration is generally taken to be the
repetition of the initial consonant in two or more adjacent words.
Consonance is a half rhyme in which final consonants are repeated but with
different preceding vowels. Assonance is also a half rhyme realized by repeating
the same (stressed) vowel but with different final consonant in a sequence of
nearby words. Phonaesthesia (secondary onomatopoeia) are those sounds, which
are felt to be appropriate to the meaning of their words. The repetition of sounds
of words helps in linking related words to reinforce meaning. It provides tone and
musical color and it aids memorability.
2.6.4

Graphological Devices

Punctuation marks are used in writing to divide sentences and phrases. It also
refers to the system of using the punctuation marks. Paragraph involves a section
of a piece of writing, usually consisting of several sentences dealing with a single
idea. The first sentence of a paragraph starts on a new line.

11

2.6.5 Morphological devices Include

In the works of Osundare (1983, p.28) cited on Alabi (2007:166), he asserts that
Soyinka employs compounds in a way that boosts the baffling compactness of
his work. What Soyinka collapses into compounds i.e. simple compounds
(Unhyphenated or hyphenated) or multiple compounds are shown to be potentially
longer expressions and structures. Affixation is a process of forming new words
by putting certain morphemes before and/or after some words, while adding
certain morphemes after some others i.e. prefix and suffix respectively. We have
two popular types of morphological operations (affixation) in English which are
inflection and derivational. Inflected forms of English words are variants of one
and the same word. Inflecting a word does not necessarily cause it to change its
category.
A derivational suffix is a morpheme that usually changes the class of a word to
which it is added. Coinages are newly created words. Coinage is a process of
forming new word. The above discussed elements will form the basis of the
analysis in the next chapter.

Introduction Shelleys To a Skylark

I have chosen B.P Shelleys ode To a Skylark for stylistic analysis in this
research. Shelleys To a Skylark is indeed one of the most remarkable lyrics of
Shelley. It was written in the spring of 120 and is ranked with his two other
famous lyrics:Ode to the West Wind and Ode to The Cloud.
To a Skylark is representative of Shelleys thought and style in his major poetry.
To a skylark is one of the prominent lyrics in English poetry. Edmund Gosse
remarks that it is a piece of supreme poetry and embodies the best qualities of
Shelleys lyrical genius. For its melodious charm, imaginative conception,
spontaneity of emotional expression and metrical power, it remains unsurpassed in
English poetry. In this famous ode Shelley addresses the skylark that he regards as
a spirit of song and joy. It soars high up in the sky with the first streak of dawn

12

and from her high tower in the sky pours forth down upon the earth a flood of
sweetest harmony in which there is no lack of perfection.
To a Skylark is an intensively lyrical poem. Shelley, like Wordsworth, regards
nature as being infused with a spiritual ability which animates all things, and he
finds the spirit of love which exists solely for his own happiness. The poem begins
on a note Hail to the blithe spirit. Romantic poetry is not only imaginative but it
is also lyrical. The skylark for Shelley is not only a money a bird but also an
embodied joy, a transcendent being, which pours forth melodic strains as it flies
higher and higher in the sky. The skylark unlike most other birds, flies straight
into the sky like an arrow and it sings all the more as it goes higher.
Shelley tells us that the skylarks upward flight begins as the sun rises (In the
golden light of sun of the sunken sun thou dost and run), dissolving the darkness
of the night. But the great interest is that the skylark becomes invisible like star of
heave in the broad day light, and its sweet music that is audible. Its invisibility
adds to the mystical nature of the bird.
The poet reveals his bewilderment regarding the bird when he says what thou art
we know not, what is most like thee. In stanza 8 to 12, Shelley compares the bird
to a poet who flies high into the regions of elevated thoughts, a high born maiden
who pours forth her heart from a place tower to a deflowered which makes the air
redolent ninth its sweet fragrance. Furthermore, the bird is compared to the
delightful sound of the spring rains on twinkling grass, because the sound of
skylark song is more beautiful than all the joyous, and clear and fresh.
In line no 56-60 the speaker asks it to teach the world its thoughts. Before he
never heard such a sweet and beautiful voice beautiful song, wedding songs, are
nothing empty sounds compared to the skylarks song. What the speaker asks
causes the bird to make so wonderful a sound. According to speakers the skylark
apparently has never experienced, it must have some special knowledge of death
of what is to come that enables it to sing such a joyous and sweet song as we
human do not know. In line 26 and pine for what is not, we want something that is
most beautiful and charming but even our own laughter there is always some pain.
The most beautiful line and what of our songs? Our sweetest one is about sadness
13

but even if we renounced hatred. Pride and fear even if we never shed a tear, we
could never be as joyful as the skylark. Its sound is better, sweeter and more
beautiful than all those of others.
The speaker concludes by asking the skylark, teach me half the gladnesss knows
with such knowledge, the speaker could present to the world a harmonious
madness that all would listen to.

14

CHAPTER 3
DATA ANALYSIS
3

THE AIM OF STYLISTIC ANALYSIS

The basic aim of stylistic analysis is to find out the linguistics elements in a text
and to show its function to help in doing literary criticism of the particular text.
The method is approved by Stankiewicz (as cited in Anjanikamer Sinha). It says
the poetic text is the most dynamic and open ended type of message and not a
hermetically closed and self- reflection structure. Sinha further explains the point
that a theory of stylistics should not only tell us what the structure of a text but
also what it is. Only then it indicates what makes a text dynamic and open ended.
(Language style and discourse) It is not only acceptable but an essential apparatus
for literary critics. So the aim and the purpose of stylistics is not only to analyze
text from linguistic point of view but also to tell us how these linguistic elements
help to infer the meaning and understand the theme that has blended with the
linguistic features.

3.1 Analysis of the Poem

The speaker seems a bit jealous of the freedom of the
skylark, which travels where it pleases. It doesnt
matter when or wherewhether it is dusk (the
sunken sun) or morning (the silver sphere refers to
the morning star)the speaker feels that the skylark
is always flying high above. Even if we do not see it,
or even hear it, we feel it is there.
The speaker admits to not knowing whether the bird
is happy, however, or from where it receives its joy.
He puts five stanzas in the middle of the poem in
metaphors, comparing the skylark to other living
objects in nature (poets, a maiden, worms, and
roses), which express love, pain, and sorrow. None of

15

them, however, has the expressive ability of the

singing bird. The poet hopes to learn about the realm of spirit from the bird,
plainly asking to teach
him how it manages to continue on with its rapture so divine without ever
wavering in pain or
sorrow. Even the happiest of human songs, like a wedding song (Chorus
hymeneal), does not
compare to the song of a skylark.
The song of the skylark, rather than the skylark itself, is what holds all the power.
It is the song
that can have the light of thought of the poet, the soothing love of the
maiden, invisible
existence as the glow-worm golden, and the aura of a rose. It is this power to
awaken so many
different parts in nature, and make them aware to the human mind, that Shelley
wants to be
taught.
Eventually, the speaker seems to come to terms with the idea that in some ways,
ignorance can be
bliss. Yet, this makes the skylarks joy inhuman. We look before and after, and
pine for what is
not, but a bird lives in the moment. Nevertheless, recognizing the beauty in the
simple brain of
this skylark, the speaker would be happy to know only half its gladness, seeking
the ability to
inspire others the way he was inspired by the bird.
This poem goes hand-in-hand with Ode to the West Wind in that Shelley uses
objects in nature as
a catalyst for both inspiration and introspection as to what his own purpose is as
poet. Immediately
referring to the skylark as a blithe spirit makes the bird a supernatural object
Shelley is doting
upon. As he watches the bird climb higher and higher into the sky, he begins to
employ natural
16

metaphors commonly found in religion and mythology to describe the aesthetic

beauty and poetic
devotion he has for this unbodied joy.
The bird continues its upward flight until it is no longer visible, turning its song
into climatic-like
events in nature: like a cloud of fire, like the golden lightning, like a star in
heaven, and keen
as the arrows from the morning star. These metaphoric elements help create the
myth and power
of the skylark, and represent it as a kind of celestial being.
What thou art we know not; What is most like thee? is Shelley showing his
vulnerability as a poet
and his jealousy of the blithe ignorance of the bird. Setting up the closing stanzas,
where he admits
to wanting only half of its gladness, the redirection of the poem into the mind of
the poet rather
23/10/2014 Percy Shelley: Poems Study Guide : Summary and Analysis of "To a
Skylark" | GradeSaver
http://www.gradesaver.com/percy-shelley-poems/study-guide/section10/ 2/2
than a description of its subject reflects the struggle Shelley has with the
intellectual side of
experience. Like Keats nightingale, Shelleys skylark is a window into the poets
understanding of
the relationship between sadness and joy, experience and knowledge, and his
desire to only be
under the influence of joy and knowledge, even though he knows that is not
possible. Finally,
beyond recognizing the difference between himself and the glorious song of the
skylark, Shelley
keeps the hope that someday his words will be heard and heeded the way he is
listening to and
being inspired by his avian muse.
The fifteenth stanza, the question stanza, marks the beginning of Shelleys
separation of the
17

mortal from the spiritual. Asking questions creates room for the poet to
provide answers. The
answer he comes up with is that we, unlike the song of the skylark, are mortals
capable of
dreaming sweet melodies. It is not good enough to have unreflective joy, and
thus even our
sincerest laughter is often accompanied with our saddest thought, yet this is
the reality we must
Acknowledge.

3.2 ANALYSIS ON THE LEVEL OF SYNTAX/GRAMMAR

For its detailed stylistic analysis, the morphological level of the poem is a
better ground to start with. The rest of the linguistic levels are considered later on
for instance, grammatical deviations, foregrounding, graph logical and
phonological deviations. My initial interpretation of the poem, To a Skylark came
about solely as a consequence of looking at the lexis of the poem.
The smallest unit that carries linguistic information is said to be morpheme. There
are two types of morphemes: free and bound. Free morphemes can stand alone but
bound morphemes cannot stand independently. Free morphemes are divided as
lexical morphemes (generally known as open class words) such as noun, verb,
adjective etc. Mostly writers play with them and manipulate them according to
their own purpose. And functional morphemes (known as closed class words)
function as mortar between lexical morphemes. They work more like sentence
glue to link words together in a meaningful order. Writers do not interfere with
them usually. They are determiners, prepositions, conjunctions and so on. Let's
consider open class words in the poem. We focus first on nouns and noun phrases
used in the poem. Table 1 includes all the nouns in detail.

3.3 DISTRIBUTION OF NOUN PHRASES IN POEM

Shelley has chosen title for the poem To a Skylark because it can be derived
from the verb Galan which means to sing and that is how the song of Skylark

18

became a source of inspiration for the poem. The first part of the word Skylark
can also be associated to the noun gale which means an extremely strong wind.
It gives us the idea that the speaker is moved by a gale of emotions and
imagination.
Hail
Poorest
Singing
Soar
Float, run
Melts
Hear
Narrows
See
Feel
Rains
Know
Is
To see
Showers
Singing
To sympathy
Heeded
Soothing
Scattering
Screen
Embowered
Deflowered
Gives
Makes
Was
Surpon
Teach
Land
Abstract
Scent
Sounds
Music
Sprint
Thought
Love
Ruptured

Praise

Higher
Near
Golden
Pale people
Unseen
Shrill
Keen
Silver
Hardly
Clear
All
Loud
Lonely
Out
Over flowed
Bight

Faint
Too much
Winged
Twinkling
Joyous
Clear
Sweet
Divine

Hidden
Unbidden
Wroght
High born
Secret
Sweet
Overflow
Golden
Unbeholden
Aerial
Green
Warm
Heavy
Sweet
If we deem over the chart of lexics gathered from the poem
we see in table one abstract noun in plenty as compare to the
others. Abstract nouns are names of those things which do
not have any concrete or material existence. These nouns
prove the idea that imagination or fancy is one of the major
themes of the poem. Shelley himself upholds the theme by
saying that blith spirit - Bird thou never went.
On the other hand there are nouns that one way or the other
covers the semantic area of the world of men. These nouns
are very few in number and there is no such word or noun
that suggests the idea of immense pleasure. The third group
19

of nouns is a kind of link between the world of world of men

and the world of fancy.
Thus we can derive that Skylark is partly a spirit whose extreme pleasure has
become a source of inspiration and partly a mortal being which has realized death
a source of undergoing into eternity.
In the second table we see verbs that are mostly stave verb. Very few action verbs
have been used. This comparison makes us comprehend the dilemma of the poem.
From avoiding action verbs we conclude that to achieve perfect happiness it does
not need any effort. But it is something that is natural. By putting efforts we
cannot access the natural and perfect joy that a skylark enjoys.
Near the end of the poem in line 96, 98 are rhyming lines which very apply repeal
a parallel structure of modifier + pre-conjunction + determiner + noun.
Line 96 = better than all measures
Line 98 = better than all treasures
|ezar|
There is also a perfect repetition of structure as well as sound save the two sounds
of |me| and |tr|. In the two lines the whole theme has been concluded that
happiness does not lie in wealth and money but it is a God-gifted and an
exemption from all these things.
It has been demonstrated that repetition is the fundamental element in the ode To
a Skylark as it has been found from the very beginning to the end of the poem. It
not only emphasizes structures, words and ideas but also gives us the impression
of poetic inspiration fancy and yearning for unbound pleasure. Every structure in
the poem represents the particular image that is described in its surface structure.

3.4 PHONOLOGICAL ANALYSIS

The poem consists of twenty one short stanzas of five lines each. The rhyming
scheme of a b, a b runs throughout the poem which has added to its regularity the
dominant sound meter in the poem is trochaic tetrameter in initial four lines of
20

each stanza but the fifth stanza. Suddenly rises from tetra to pentameter. The
sound meter goes straight throughout the poems such as
Hail

To

Thee

Blithe

Bird

Thou

Never

Wert

That

From

Heaven

Or

Spirit

Near

It

In profuse strains of unpremeditated art

The continuous rhyming and sound pattern signifies not exhausting and never
ending flight and its sweet song.

3.5 CONSONANCE OF |M|, |T|

The frequent repetition of assonance |li| sound produces and euphonic effect in the
poem as in line 25 we hardly see but we feel that it is there. The same sound
pattern has been repeated again in line 55. Makes faint with too much sweet those
heavy winged thieves thus the repetition of |eel| sound produces a please euphonic
effect that pleases the ear. Furthermore the same effect is produced by |k| and |d| in
line 76 and 47 respectively.

3.6 REPETITION
Repetition is the most important and abundant feature in this poem, which helps a
poem, emphasizes and puts stress on the main problem of a poem; and its
significant features in line 6 we see the first lexical repetition in the poem. In this
case we are dealing with a lexical repetition.

3.7 HIGHER STILL AND HIGHER

The modifier higher is used in its comparative form that each time the bird goes
further up towards the sky it keeps on its journey towards the heights of the sky. In
line 10 the same idea occurs in a structural repetition.
Line 10: And singing still does soar
And soaring every singest

21

Here we see the two clauses manifest, a structure conjunction + present participial
+ copula. The same structure is repeated in one sentence. There is another
structure that has been frequently repeated in the poem.
Preposition + indefinite article + (modifier) + noun as in line 36, 41, 46, 51, 8, ,8 ,
18, 15
In line 36, 51, the modifier has been used attributively whereas in 41 and 46 it is
used as predicatively. The slight variation signals to the temporal or slight pause in
the flight of the bird; however, the bird goes on upwards keep on singing.
The structural repetition also exhibits the fact that the bird never feels bored by
repeating the same song and journey. As a reader does not get bore with this
repeated structure. Rather a reader enjoys its slight rhythmic variation. In these
repeated structures different nouns have been used.
Line 8 A cloud of fire
Line 15 Unbodied joy
Line 18 A star of heaven
Line 36 Poet hidden
Line 41 High born maiden
Line 46 Glow warm golden
Line 51 Rose embowered
We divided these nouns into two groups. Poet, maiden is the first group that gives
us the idea of the world of men. Group two includes nouns namely joy, cloud,
glow, rose, star. These nouns suggest the world of nature or the world of skylark.
This proves that the author reinforces through the use of these two kinds of nouns
the idea of two different worlds.
Such as the world of men that is nothing but pain and worries and the world of
skylark or nature that means only happiness. In the above line Shelly talks of

22

pleasure but in a very sad melancholic tone. Similarly the assonance |li| sound also
suggests the effect of the bird song and the state of the speaker being deeply
inspired. Shelley talks of the human passion, sorrows and joys in the line our
sweetest songs are those that tell of saddest thought in this particular line stop |t|
and plosive |s| are two dominant sounds. Though both are two different and
contrasting sounds but their combination creates musicality that is difficult to
pronounce but is pleasing. Thus from the brief study of the sound of the poem we
have derived that the musicality, and sound of the poem very closely resemble the
sweet sound of a skylark and the main theme of the poem that is inspiration.

3.8 IMAGERY/COMPOUND
To produce a pictorial effect in the poem the speaker has made a deliberate use of
compound nouns and modifiers frequently and has succeeded to achieve his goal
to a great extent. The phrase cloud of fire is a kind of oxymoron and collocation
deviation for both the words represent two different and contrasting ideas. Cloud
is something that is cold and fire is fire that is hot. So a fire cannot be cold, nor
can cloud be hot; but it seems as if it is a cloud of fire. It means that its reality is
different than what it seems in line 16, modifying male purple even is a
successful effort to draw a visual image of evening; the alliteration of |p| sound
further beautifies its charm, and the words bring a visual image in front of our
mental eyes which makes us fully enjoy the line. The same technique has been
practiced again in line 29 and 30.Stanza 12 is the best example of phonaesthesia.
For instance, we feel auditory image in these lines as:sound of vernal showers on
the twinkling grass
We feel and hear the very sound of rain that falls on the lush green waving,
dancing and fluttering grass. The rainfall and fluttering of grass produce a mutual
sweet musical noise. They very noise has been in the form of words in the referred
line. Stanza 11 reveals a very colorful image of sight. As the speaker says
that:Like a rose embowered
Line 51 and 52 describe the sight of flowers that wins our admiration. The words
rose embowered in its own green leaves capture the very state and scenery of the

23

spring flower. Phrases such as by warm winds, till the scent it gives are a slight
touch of thermal and olfactory images respectively.
We can sum up that the poem is replete with various kinds of images which
enhance its beauty and charm. The various similes and metaphors have been
described in such words and compounds that help a reader to enjoy the very
essence. Theme of the poem as the poet enjoys the song of the skylark.

3.9 RHETORICAL DEVICES

Shelley has practiced his hand on a few rhetorical devices in the poem. In the very
first line he addresses the kind and has used apostrophe. Hail to the blithe spirit,
the line has been analyzed under the discussion on morphological ground. The
same device has been used in the poem from time to time, such as bird thou never
went lines 2 thou in lines 7, 14, 20 they in lines 20, 27, 25, 72, thee in line
79.
Such words show a direct address in the poem. The addresser seems very much
interested in the bird. These address words also suggest the fact that there is a vast
difference between you and I between the addressor and the addressee. The
addressee possesses some extra ordinary quality that the addresser is longing for.
Similarly the method of using directive verbs as teach me (line, 101) signifies
the close communication in the poem. In stanza 15 Shelley has put many
rhetorical questions. What objects .. ? (Stanza, 15). Through asking questions
in this way, the speaker has successfully transferred his passion and feelings into
the reader. This technique enhances curiosity and interest of a reader in the bird.
A reader becomes as keen to know about the nature and source of the birds joy as
Shelley himself. Stylistic analysis of the poem amply enables us to understand its
main tension, which is a hunt for perfect joy. At the end of this search and
exploration the speaker realizes that being mortal we never achieve this perfect
joy. He claims that if he achieves this perfect joy he will sing as stirring and
stimulating song as the bird does.

24

CHAPTER 4
SUMMARY AND CONCLUSION
4.1 SUMMARY
This work has partially been able to use the elements of stylistics under lexiconsyntactic patterns and choices, phonological, morphological and graph logical
devices to analyze the poem Shelleys To a Skylark. The display of stylistics in
the poem, the function and the effects in the poem their functions and their effects
in the poem have been the major focus of this research work.
The

first

chapter

is

introduction/background

the
to

introductory
the

study,

aspect
research

where
problem,

the

general

aims

and

objectives/statement of purpose, scope of the study, justification, research

methodology, data description and the biography of the poet are given briefly.
Chapter two comprises a review of related literature, a theoretical framework on
which the analysis is based; the elements upon which the data are analyzed are
explained briefly. A statistical analysis of data is done in Chapter three. Seven (7)
poems of Whole Soyinka collected from a Selection are analyzed using the above
mentioned levels of stylistic analysis.
In conclusion, this work reveals that the choice of words in any piece of writing is
very important. Words are capable of expressing thoughts and feelings effectively
and passing across the intended message of the writer to the hearer/reader of the
work. It also reveals that putting all these into consideration can thus make any
piece of writing to be efficient and fulfilled.

4.2 CONCLUSION
Since we have analyzed the poem To a skylark stylistically, now we are in a
position to give some conclusion to what we have discussed. After the
introductory chapter, we briefly discussed what stylistics is. We have proved it in
the light of writings of prominent stylisticians that it is a field of study which
functions as a bridge between linguistics and literary criticism. A slight touch is

25

given to the history and origin of the field. The term style and its effects on the
definition of stylistic are discussed in detail. The second part of the research
consists of the analysis of the poem. First the aim of the poem is mentioned.
Shelleys age and its stylistic trends are talked about. The literary theme and idea
of the poem is discussed, and then in the following chapters it is shown that how
stylistic analysis of a poem explains the theme and ideas of the poem. It even
highlights the elements that we might otherwise miss. Analyzing the poem
stylistically also highlights how the minute features of the poem contribute to the
poem which we usually ignore and consider as common. Stylistics, then, is helpful
to explain those parts of the poem, which, we are otherwise unable to understand.

26

BIBLIOGRAPHY
Abrams, M.H.. (1981), A Glossary of literary Terms Newyork: Holt, Rinehartand
Winston.
Alabi,

V.A.

(2007),

Lexico-syntactic,

phonological

and

graphological

patterns,choices And devices in Discourse. O. Obafemi, G.A. Ajadi, V.A.

Alabi(eds.), Critical Perspectives on English Language & Literature,
Ilorin: TheDepartment of English, university of Ilorin.
Aronoff, M. and Fudeman, K., (2005), What is Morphology?, Malden,
USA,UK,Carlton, Australia: Blackwell publishers.
Carter, R. (ed.), (1982), An introductory Readers in Stylistics: Newyork:
GeorgeAllen & Unwin (publishers) Ltd.
Carter, R. (1988), What is Stylistics and why can we teach it in different ways,
M.Short (ed.), Reading, Analysing & teaching literature, Newyork and
UK:Longman Group.
Corbett, E.P.J. (1971), Classical Rhetoric for the Modern Student: Newyork:OUP.
Freeman, D.C. (ed.) (1971), Linguistics and literary Style, New York:
Holt,Rinehart & Winston.
Haynes, J. (1989), Introducing Stylistics, London & New York: Unwin
HymanLA.
Longman.Lodge, K. (2009), A Critical Introduction to Phonetics, London & New
York:Continuum international publishing Groge
Tallerman, M. (1998), Understanding Syntax, London & UK: Holder
EducationLtd.
Toolan, M. (1998), Language in literature- An introduction to Stylistics, U.K
&London: Hodder Education.
Widdowson,

H.G.

(1975),

Stylistics

and

the

teaching

of

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London:Longman Group Ltd.

27

Appendix 1
POEM SHELLELY TO A SKYLARK
1. Hail to thee blithe spirit
Bird thou never wert
That from Heaven, or near it,
pourest the full heart
in profuse strains of unpremeditated art .
2. higher still and higher
from the earth thou springest
the blue deep thou wingest,
and singing still dost soar, and soaring ever singest,
3. in the golden lightning
of the sunken sun
oer which clouds are brightening,
thou dost float and run;
like an unbodied joy whose race is just begun
4. the pale purple even
melts around the flight;
like a star of heaven
in the broad daylight

28

thou art unseen, but yet I hear the shrill delight,

5. keen as are the arrows
of that silver sphere,
whose intense lamp narrows
in the white dawn clear
until we hardly see-we feel that it is there.
6. all the earth and air
with thy voice is loud
as, when night is bare,
from one lonely cloud
the moon rains out her beams, and heaven is overflowed.
7.

What thou art we know not,

what is most like thee?
From rainbow clouds there flow not
Drops so bright to see
As from thy presence showers a rain of melody

8.

Like a poet hidden

In the light of thought
Singing hymns unbidden
Till the world is wrought

29

9.

To sympathy with hopes and fears it heeded not

Like a high born maiden
In a palace tower
Soothing her love-laden
Soul in secret hour
With music sweet as love, which overflows her bower?

10. like a glow worm golden

In a dell of dew,
Scattering unbeholden
Its aerial hue
Among the flowers and grass, which screen it from the view!
11.

Like a rose embowered

In its own green leaves
By warm winds deflowered
Till the scent it gives
Makes faint with too much sweet those heavy winged thieves

12.

Sound of vernal showers

On the twinkling grass
Rain-awakened flowers
All that ever was
30

Joyous, and clear, and fresh, thy music doth surpass

13.

Teach us, spirit or bird

What sweet thoughts is thane
I have never heard
Praise of love or wine
That panted forth a flood of rapture so divine

14.

Chorus hymeneal,
Or triumphal chant,
Matched with thine would be all
But are empty vaunt
A thing wherein we feel there is some hidden want

15.

What objects are the fountains

Of thy happy strain?
What fields, or waves, or mountains?
What shapes of sky or plain?
What love of thine own kind? What ignorance of pain?

16.

With thy clear keen joyance

Languor cannot be
Shadow of annoyance
Never came near thee

31

Thou lowest but neer knew loves sad satiety

17.

Waking or asleep,
Thou of death must deem
Things more true and deep
Than we mortals dream
Or how could thy notes flow in such a crystal stream?

18.

We look before and after

And pine for what is not
Our sincerest laughter
With some pain is fraught
Our sweetest songs are those that tell of saddest thought

19.

Yet if we could scorn

Hate, and pride, and fear
If we were things born
Not to shed a tear
I know not how thy joy we ever should come near

20.

Better than all measures

Of delightful sound
Better than all treasures
That in books are found

32

Thy skill to poet were, thou scorner of the ground!

21.

Teach me half the gladness

That thy brain must know
Such harmonious madness
From my lips would flow
The world should listen then as I am listening now

33