PAPER MATERIAL

POETIC RHTYHM
TEACHING LECTURER
AGRY PRAMITHA, M.A

MEMBERS:
- ZAHRA MAWADDAH (1235030238)
- ZOYA NOVITA (1235030245)
- ZAMZAM ISMANUDIN (1235030526)

UNIVERSITAS ISLAM NEGERI SUNAN GUNUNG DJATI

2023
Contents
No table of contents entries found.

ABSTRACT
Poetry is one of an important part of English literature. In poetry, there's a
basic rhythmic structure of a verse or line in verse called 'meter'.
Meter is created through the arrangement of syllables in a line of poetry. Meter is
an essential element of poetry as it creates structure, which is because it dictates
the length of every line in the poem. The meter of a poem is determined by two
key factors – how many syllables there are and the pattern they create. In a line of
poetry, syllables will be grouped together into metrical feet.
This research was created to find out and define the types of poetic meter, while
also to define the differences and similarities between pantun and iambic
pentameter which is often mistaken as the same.
The subject of this study was to learn about the types of poetic meter, to find out
about the differences and similarities between pantun and iambic pentameter, and
to understand it better so as to not mistaken it again as the same.

Keyword: Poetry, rhythm, syllables, pantun

 FOREWORD
Thank God, for all the abundant grace of Allah Subhanahu Wa Ta'ala,
thanks to His blessing, we were able to complete this paper on time. We also do
not forget to offer shalawat and greetings to the Prophet Muhammad Shallallahu
`alaihi Wa Sallam, along with his family, his companions and all his ummah who
will always be steadfast until the end of time.
The aim of writing this paper is to fulfill a group assignment for the Introduction to
Literary Analysis course with the topic of poetic rhythm. In this paper we explain
many things about poetic rhythm material and review various points of view and
provide other examples and assumptions so that readers can understand it more
contextually.
However, we are aware that this paper is full of shortcomings. Therefore, we really
hope for constructive criticism and suggestions to improve this paper. We hope
that this paper will be useful and be able to meet the expectations of various
parties. Amen.

Bandung, September 5th 2023

Compiler
CHAPTER 1
 PENDAHULUAN
1.1 Backgraund
According to Kenneth A De Jong (2003) a syllable is a unit of organization
for a sequence of speech sounds typically made up of a syllable nucleus (most
often a vowel) with optional initial and final margins (typically, consonants).
Syllables are often considered the phonological "building blocks" of words.
English syllables are stress-timed. English is classed as a ‘stress-based’ language,
which means the meanings of words can be altered significantly by a change in
word stress and sentence stress. This is why it is important to learn how to use
word stress in English and develop an understanding of sentence stress and English
stress patterns.
When talking about stress is also talking about syllables and sentence stress.
According to Fudge (2005) there are two kinds of stress, they are sentence-stress
and syllable stress. Sentence stress is the manner in which stress is distribute on the
word and syllable stress is the manner in which stress is distributed on the syllable.
He also stated there is a sign (') to put stress placement in a word.
A stressed syllables is produced by pushing more air out of the lungs in one
syllables relative to others. According to Cruttenten (2008), the term 'stress' refers
to 'accent and prominence' which agree that loudness in accented syllable is
produced by greater breath effort and muscular energy of vocal fold. Thus, the
sound of the syllable produced is louder than other syllable. At a word level, there
is always a syllable which is more prominent syllable than the others. Verb,
adjective, and noun are the usually stressed. The stressed rarely falls on
grammatical words such as on, of, this, that, the, and more. But it does not mean
they could not be stressed. Those grammatical words could be stressed to make a
special attention to it or to emphasize it.
By creating this research, the researchers hope it will help non-native English
speakers to be able to learn and understand better about the syllabes and stressed
pattern on English's words.

1.2 Formulation of the Problem

1) How to understand syllables and stresses
2) How to difine types of poetic meter
3) How to difine the difference and similarities of pantun and aimbic
pentameter

1.3 Purpose
1) To know how poetic rhythm is difiened
2) To find out how literary parts result from poetuc rhythm
3) Can know and differentiate literary works procduced by poetic rhythm

1.4 Benefit
1) Can add insight literary values
2) Can get a boarder picture of the world of literature
3) Can be used as reference material for creating literary works

1.5 Method
The method used in data collectiin is the study method literature,
descriptive methods in analyzing data, and informal methods (narrative) in
presenting the analysis result.

CHAPTER 2
 DISCUSION
2.1 Poetic Rhythm
Rhythm is everywhere: we hear it in the hum of vehicles and appliances. We feel it
when we walk or run. We see it in the very rising and setting of the sun. Even our
hearts beat to a rhythm. Rhythm is built into the way we experience and perceive
the world.
Merriam-Webster’s Dictionary offers several definitions for rhythm:
 an ordered recurrent alternation of strong and weak elements in the flow of
sound and silence in speech
 the aspect of music comprising all the elements (such as accent, meter,
and tempo) that relate to forward movement
 movement, fluctuation, or variation marked by the regular recurrence or
natural flow of related elements

Rhythm in poetry can be thought of as the beat or the flow of a poem. It is made up
of beat and repetition, so it usually refers to features of sound. It is created by
stressed and unstressed syllables in a line or a verse.
Rhythm can be described as the beat and pace of a poem. The rhythmic beat is
created by the pattern of stressed and unstressed syllables in a line or verse. In
modern poetry, line breaks, repetition and even spaces for silence can help to
create rhythm.
Rhythm can help to strengthen the meaning of words and ideas in a poem.

2.2 Syllables and Steress

2.2.1 Syllables
When we speak in ordinary conversation, we pronounce
different parts of words, or syllables, separately. For example:

 Table has two beats, or two syllables: ta-ble

 Chair has only one syllable: chair

Some syllables seem to have a long or short sound when they

are pronounced. Take the word, ‘table’. The first part of the
word is emphasised when we say it. Ta-ble. The second part
of the word sounds shorter.

We can call this different syllable emphasis stressed or

unstressed. In the word ‘banana’, for example, the central
syllable is longer, or stressed, when you say it naturally: ba-
na-na. Try saying it out loud to hear where the natural
emphasis falls.

Poets make use of these natural stresses in language in order

to create rhythm in poetry. It can be helpful to think of rhythm
in poetry as being like a beat in music.

In poetry, this pattern of the stressed and unstressed parts of

words is called the metre, which is the number and type of
rhythmic beats in a line of poetry.

In types of poems, such as haikus, the writer counts the

number of syllables in each line. In metrical poetry, however,
poets don’t count the number of syllables in each line; they
count the number of ‘stresses’
The English language is heavily stressed with each word
divided into syllables. Here are some examples of English
words with different numbers of syllables. These sets of words
are followed by a series of examples using the correct stress
placement:

 Words with one syllables

The, cold, quite, bed, add, start, hope, clean, trade, green,
chair, cat, sign, pea, wish, drive, plant, square, give, wait, law,
off, hear, trough, eat, rough, trout, shine, watch, for, out,
catch, flight, rain, speech, crab, lion, knot, fixed, slope, reach,
trade, light, moon, wash, trend, balm, walk, sew, joke, tribe,
brooch

 Words with two syllables

Party, special, today, quiet, orange, partner, table, demand,

power, retrieve, doctor, engine, diet, transcribe,
contain, cabbage, mountain, humour, defend, spatial, special,
greedy, exchange, manage, carpet, although, trophy, insist,
tremble, balloon, healthy, shower, verbal, business, mortgage,
fashion, hover, butcher, magic, broken

 Words with three syllables

Fantastic, energy, expensive, wonderful,

laughable, badminton, idiot, celery, beautiful, aggression,
computer, journalist, horrify, gravity, temptation, dieting,
trampoline, industry, financial, distinguished, however,
tremendous, justify, inflation, creation, injustice, energise,
 glittering, tangible, mentalise, laughable, dialect,
crustacean, origin

 Words with four syllables

Understanding, indecisive, conversation, realistic,

moisturising, American, psychology, gregarious,
independence, affordable, memorandum, controversial,
superior, gymnasium, entrepreneur, traditional,
transformation, remembering, establishment, vegetation,
affectionate, acupuncture, invertebrate

 Words with five syllables

Organisation, uncontrollable, inspirational, misunderstanding,

conversational, opinionated, biological, subordination,
determination, sensationalist, refrigerator, haberdashery,
hospitality, conservatory, procrastination, disobedience,
electrifying, consideration, apologetic, particularly,
compartmentalise, hypochondria

 Words with six syllables

Responsibility, idiosyncratic, discriminatory, invisibility,

capitalisation, extraterrestrial, reliability, autobiography,
unimaginable, characteristically, superiority, antibacterial,
disciplinarian, environmentalist, materialism, biodiversity,
criminalisation, imaginatively, disobediently

 Words with seven syllables

Industrialisation, multiculturalism, interdisciplinary,

radioactivity, unidentifiable, environmentalism,
individuality, vegetarianism,
unsatisfactorily, electrocardiogram

2.2.2Stressed and Unstressed

Different rhythmic patterns are created by choosing where
the emphasis (stress) falls in the line. These patterns all have
names:

 An iamb: unstressed / stressed – da-DUM

 A trochee: stressed / unstressed – DUM-da
 A spondee: stressed / stressed – DUM-DUM
 An anapaest: unstressed / unstressed / stressed – da-da-DUM
 A dactyl: stressed / unstressed / unstressed – DUM-da-da

Poets arrange their words in such a way as to create those

rhythmical patterns.

For example, the poet, Lord Byron in The Destruction of

Sennacherib used an anapaestic rhythm to create the sound of
horses riding into battle. The rolling rhythm makes the
Assyrian army sound unstoppable, the bolded stressed
syllables shows this:

The Assyrian came down like the wolf on the fold,

And his cohorts were gleaming in purple and gold;
And the sheen of their spears was like stars on the sea,
When the blue wave rolls nightly on deep Galilee.

Here are some general rules about word stress in English:

 Only vowel sounds are stressed (a,e,i,o,u).

 A general rule is that for two syllable
words, nouns and adjectives have the stress on the first
syllable, but verbs have the stress on the second syllable.
For example: table (noun), special (adjective),
demand (verb).
 Words ending in ‘ic’, ‘tion’ or ‘sion’ always place their stress
on the penultimate (second to last) syllable. (e.g. supersonic,
Atlantic, dedication, attention, transformation,
comprehension).
 Words ending in ‘cy’, ‘ty’, ‘gy’ and ‘al’ always place their
stress on the third from last syllable. (e.g. accountancy,
sincerity, chronology, inspirational, hypothetical).
 Words ending in ‘sm’ with 3 or fewer syllables have their
stress on the first syllable
(e.g. prism, schism, autism, botulism, sarcasm) unless they
are extensions of a stem word. This is often the case with
words ending ‘ism’.
 Words ending in ‘ism’ tend to follow the stress rule for the
stem word with the ‘ism’ tagged onto the end (e.g. cannibal
= cannibalism, expression = expressionism, feminist
= feminism, opportunist = opportunism).
 Words ending in ‘sm’ with 4 or more syllables tend to have
their stress on the second syllable (e.g. enthusiasm,
metabolism).
 2.2.3Stress can changing the meaning of a word
This can lead to some funny misunderstandings –
and some frustrating conversations!
Words that have the same spelling but a
different pronunciation and meaning are
called heteronyms. Here are a few examples of
words where the stressed syllable changes the
meaning of the word:

 Object

The word ‘object’ is an example of an English

word that can change meaning depending on
which syllable is stressed. When the word is
pronounced ‘object’ (with a stress on the first
syllable) the word is a noun meaning an ‘item’,
‘purpose’ or ‘person/thing that is the focus’ of a
sentence.
For example:


o She handed the lady a rectangular object made of metal
o He was the object of the dog’s affection
o The ring was an object of high value
o The object of the interview was to find the best candidate for the
job
o The object was small and shiny – it could have been a diamond
ring!
But if the same word is pronounced ‘object‘
(with the stress on the second syllable) the
word is now a verb, meaning ‘to disagree with’
something or someone.
For example:


o They object to his constant lateness
o The man objected to the size of his neighbour’s new
conservatory
o She strongly objects to being called a liar
o We object to the buildings being demolished
o No one objected to the proposal for more traffic lights
  Present

When the word ‘present’ is pronounced ‘present’

(with the stress on the first syllable) the word
is a noun meaning ‘a gift’ or
an adjective meaning ‘here / not absent’.
For example:


o She handed him a beautifully wrapped present
o The book was a present from their grandparents
o Everyone was present at the meeting
But when the word is pronounced
‘present’ (with the stress on the second
syllable) the word is now a verb meaning ‘to
introduce’ something or someone, ‘to show’ or
‘to bring to one’s attention’. It can also be used
when talking about presenting a TV or radio
show (i.e. to be a ‘presenter’).
For example:


o May I present Charlotte Smith, our new store manager
o Bruce Forsyth used to present ‘Strictly Come Dancing’
o I’d like to present my research on the breeding habits of frogs
o They presented the glittering trophy to the winner
o She was presented with the Oscar
o This new situation presents a problem

 Project

Another example of an English word changing

meaning depending on where you place the
stress is the word ‘project’. This can be the
noun when the stressed syllable is at the start
– ‘project’ (a task).
For example:


o They started work on the research project immediately
o She looked forward to her next project – repainting the house
o He enjoyed writing restaurant reviews – it was his current
passion project
 However, this word becomes a verb when the
stressed syllables moves to the end – ‘to project‘
(to throw/launch, to protrude, to cause an
image to appear on a surface, or to come
across/make an impression).
For example:


o The object was projected into the air at high velocity
o The film will be projected onto the screen
o The chimney projects 3 metres from the roof
o She always projects herself with confidence

2.2.4Stress patterns in compound words

Compound words are single words made up of two distinct

parts. They are sometimes hyphenated. Here are examples of
stress patterns in compound words in English:
 Compound nouns have the stress on the first part:
e.g. sugarcane, beetroot, henhouse, tripwire, lighthouse, new
spaper, porthole, roundabout, willpower
 Compound adjectives and verbs have the stress on the second
part:
e.g. wholehearted, green-fingered, old-fashioned, to
understand, to inform, to short-change, to overtake

2.2.5English word stress within a sentence

Stress patterns affect words and sentences in English.

The stress on a word (the word stress) is the emphasis placed

on that word. In the sentence below, “I never said he ate your
chocolate”, the stressed word will change the meaning or
implication of the sentence:

Stressing the first word ‘I’ implies that I (the speaker) never
said it. It might be true or it might not be true – the point
is, I never said it – someone else did.
Stressing the second word ‘never’ emphasises that I never said
it. There was never an occasion when I said it (whether it is
true or not).
Stressing the third word ‘said’ means that I never said it. He
might have eaten your chocolate, but I didn’t say it. I might
have thought it, but I never said it out loud (I may only have
implied it).
Stressing the fourth word ‘he’ means I didn’t say it
was him that ate your chocolate, only that someone did.
Stressing the fifth word ‘ate’ means I didn’t say he had eaten it.
Perhaps he took it and threw it away or did something else with
it.

Stressing the sixth word ‘your’ means it wasn’t your chocolate

he ate – it could have been someone else’s chocolate.
Stressing the seventh word ‘chocolate’
emphases that it was not your chocolate he ate –
he ate something else belonging to you.
So the sentence stress in English makes all the
difference to the meaning of the whole
sentence. The stressed word in the sentence is the one we
should pay the most attention to.
Stress placement affects the whole
understanding of the English language. This
issue is strongly related to the rhythm of English.
Getting the right word stress, sentence
stress and rhythm leads to the perfect
communication of your intended message.

2.2.6Stressed Vowel Sounds and Weak Vowels in English

The necessary words in an English sentence are stressed more

by increasing the length and clarity of the vowel sound.
In contrast, the unnecessary words are stressed less by using a
shorter and less clear vowel sound. This is called a ‘weak’
vowel sound.
In fact, sometimes the vowel sound is almost inaudible. For
example, the letter ‘a’ in English is often reduced to a muffled
‘uh’ sound. Grammarians call this a ‘shwa’ or /ə/.
You can hear this ‘weak’ vowel sound at the start of the words
‘about’ and ‘attack’ and at the end of the word ‘banana’. They
can sound like ‘ubout’, ‘uttack’ and ‘bananuh’ when spoken by
a native English speaker. The article ‘a’ as a single word is also
unstressed and reduced in this way to a weak ‘uh’ sound.

For example: ‘Is there a shop nearby?’ sounds like ‘Is there-uh
shop nearby?’ This shwa can also be heard in other instances,
 such as in the word ‘and’ when it is used in a sentence. For
example: ‘This book is for me and you’ can sound sound like
‘This book is for me un(d) you’.
The reason for this weak stress pattern in English is to help
the rhythm and speed of speech. Using this weak ‘uh’ sound
for the vowel ‘a’ helps the speaker get ready for the next
stressed syllable by keeping the mouth and lips in a neutral
position.
To pronounce the ‘a’ more clearly would require a greater
opening of the mouth, which would slow the speaker down.

As English is a stress-timed language, the regular stresses are

vital for the rhythm of the language, so the vowel sounds of
unstressed words in English often get ‘lost’.
In contrast, syllable-timed languages (such as Spanish) tend to
work in the opposite way, stressing the vowel sounds strongly,
while the consonants get ‘lost’.
Click on the highlighted text to learn more about how English
word stress and sentence stress relates to the rhythm of
English and intonation in English.

2.3Poetic Meters

Poetic meter refers to the rhythmic structure of a poem, created by the

arrangement of stressed and unstressed syllables in each line. Pantun
and iambic pentameter are two different types of poetic meter with
distinct characteristics:

2.3.1Pantun

 Origin: Pantun is a traditional Malay verse form.

 Structure: It typically consists of four-line stanzas

(quatrain).

 Rhyme Scheme: Pantun often follows an ABAB rhyme

scheme, where the first and third lines rhyme with each
other, and the second and fourth lines rhyme with each
other.

 Syllable Count: Pantun typically has a fixed syllable count,

usually 8 to 12 syllables per line, making it quite flexible in
terms of length.
Example:

2.3.2Aimbic Pentameter

Iambic pentameter is a type of metric line used in traditional

English poetry and verse drama. The term describes the
rhythm, or meter, established by the words in that line; rhythm
is measured in small groups of syllables called "feet".
"Iambic" refers to the type of foot used, here the iamb, which
in English indicates an unstressed syllable followed by
a stressed syllable (as in a-bove). "Pentameter" indicates a line
of five "feet".
Iambic pentameter is the most common meter in English
poetry. It was first introduced into English by Chaucer in 14th
century on the basis of French and Italian models. It is used in
several major English poetic forms, including blank verse,
the heroic couplet, and some of the traditionally
rhymed stanza forms. William Shakespeare famously used
iambic pentameter in his plays and sonnets,[1] John Milton in
his Paradise Lost, and William Wordsworth in The Prelude.
As lines in iambic pentameter usually contain ten syllables, it
is considered a form of decasyllabic verse.

 Origin: Iambic pentameter is a widely used poetic

meter in English poetry.

 Structure: It consists of lines with five pairs

(pentameter) of syllables, where each pair consists of
one unstressed syllable followed by one stressed
syllable (iambic).
 Rhyme Scheme: Iambic pentameter can have various
rhyme schemes, or it can be unrhymed (blank verse).
 Flexibility: It's highly adaptable and can be used in
different forms, such as sonnets and blank verse.
 CHAPTER 3

3.1 Conclution

3.2 Suggest
 DAFTAR PUSTAKA

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