Poetic Devices in the Song Lyrics of 'the Lamb Lies Down on Broadway Album' by Genesis - A Stylistic...

POETIC DEVICES IN THE SONG LYRICS OF “THE LAMB

LIES DOWN ON BROADWAY” ALBUM BY GENESIS:

A STYLISTIC ANALYSIS

A Paper

Submitted to the School of Foreign Languages Tourism

Foundation of Indonesia – ABA Bandung as a Partial Fulfillment

of the Requirements for Taking the Sarjana Degree

by

BAYU JAKA MAGISTRA

Registration Number : 2005.111.143

English Department

SCHOOL OF FOREIGN LANGUAGES TOURISM

FOUNDATION OF INDONESIA – ABA BANDUNG

2011

POETIC DEVICES IN THE SONG LYRICS OF “THE LAMB

LIES DOWN ON BROADWAY” ALBUM BY GENESIS:

A STYLISTIC ANALYSIS

by

BAYU JAKA MAGISTRA

Registration Number : 2005.111.143

English Department

Approved by:

Drs. H. Mundari Muhada, Dipl. TEFL. First Supervisor

Dra. Em. Endang Sri Sulastri, M. Hum. Second Supervisor

Drs. H. Mundari Muhada, Dipl. TEFL. Dean of STBA Yapari ABA Bandung

Dra. Hj. Iim Rogayah D., M. Hum. Chairperson of English Department

Say: He is Allah, the One and Only. Allah, the Eternal, Absolute. He begetteth not, nor is He begotten. And there is none like unto Him.

(Surah Al – Ikhlas)

PERNYATAAN

Dengan ini saya menyatakan bahwa skripsi ini adalah benar-benar hasil

karya tulis saya sendiri. Adapun semua referensi / kutipan (baik kutipan langsung

maupun tidak langsung) dari hasil karya ilmiah orang lain tiap-tiap satunya telah

saya sebutkan sumbernya sesuai etika ilmiah dalam penulisan.

Bandung, Desember 2011

Bayu Jaka Magistra

i

ABSTRACT

This research is a stylistic analysis analyzing song lyrics of The Lamb Lies

down on Broadway album by Genesis which are considered to be poetic. The

things that make the lyrics poetic are poetic devices which are tried to be

discovered via this research. Furthermore, poetic device that is mostly used in this

album is also tried to be found out through this research.

The writer uses descriptive and quantitative methods in this research.

While in data gathering process, the writer uses agih method with its basic

technique named bagi unsur langsung (BUL).The result shows that there are

thirty kinds of poetic devices which cover five hundred and thirty seven data, and

the poetic device that is mostly used in this album is end rhyme.

ii

PREFACE

Gratitude is solemnly pronounced to Allah SWT, for the writer can

successfully accomplish the paper entitled “POETIC DEVICES IN THE SONG LYRICS

OF “THE LAMB LIES DOWN ON BROADWAY” ALBUM BY GENESIS: A STYLISTIC

ANALYSIS” which is intended to fulfill one of the academic requirements for

taking Sarjana degree examination of the School of Foreign Languages

Indonesian Tourism Foundation-ABA Bandung. There are no words to say except

millions of Hamdallah, Alhamdulillah.

Obstacles and difficulties have been the writer‟s closest enemies during

writing his paper, but Allah always helped by delegating helpers lending their

hands to finish it. Hence, in this great opportunity the writer would like to express

his truthful and deep thankfulness to those who have been entrusted by Allah to

assist and guide him. Firstly, this thankfulness is specially given to his first and

second supervisors, Drs. H. Mundari Muhada, Dipl. TEFL. and Dra. Em. Endang

Sri Sulastri, M. Hum. respectively, for their never-ending patience, supports and

advices. Their suggestions and criticism will always serve the writer well.

Next, the writer would also like to express his thankfulness to other

individuals who are involved in the process of writing this paper from the

beginning to end, and they are listed as follows.

1. Drs. H. Mundari Muhada, Dipl. TEFL, as the Dean of the School of

Foreign Languages – Indonesian Tourism Foundation ABA Bandung and

as the first supervisor.

iii

2. Dra. Hj. Iim Rogayah D., M. Hum, as the Chairperson of English

Department of the School of Foreign Languages – Indonesian Tourism

Foundation ABA Bandung.

3. All lecturers of the School of Foreign Languages – Indonesian Tourism

Foundation ABA Bandung for illuminating the writer‟s horizon and

mindset about language and other lessons of life.

4. The writer‟s mother, grandmother, father and brothers for having given all

of their loves and affections until this time, and supported the writer

through praying.

5. All staffs of the School of Foreign Languages – Indonesian Tourism

Foundation ABA Bandung for helping the writer in all processes of

administration.

6. Mister Jony Wee Persib for his willing to help the writer find information

about his unfinished subject matters.

7. All members of Genesis especially the progressive rock era, Peter Gabriel,

Mike Rutherford, Steve Hackett, Peter Banks and Pill Collins, for having

composed great and artistic works which influence the writer particularly,

and all hardcore progressive rock fans generally.

8. All comrades of the writer‟s bands, Invithor and Emperor, for introducing

him to the glorious music of hard rock and heavy metal.

9. All members of Proclaro Community for their spreading endless spirit of

progressive and classic rock.

iv

10. The so-called Comedian Squad of English Department Class C of 2005 for

their support and keeping the writer smile from ear to ear.

Finally, the writer hopes that this paper will be helpful and beneficial for

the students of the School of Foreign Languages – Indonesian Tourism

Foundation ABA Bandung particularly or for those who read it generally.

Bandung, December 2011

The Writer

v

Table of contents

ABSTRACT ............................................................................................................ I

PREFACE ............................................................................................................. II

TABLE OF CONTENTS ...................................................................................... V

LIST OF FIGURES .......................................................................................... VII

LIST OF TABLES ........................................................................................... VIII

CHAPTER I

INTRODUCTION ................................................................................................. 1

A. Background of the Research........................................................................ 1

B. Research Questions ..................................................................................... 3

C. Aims of the Research .................................................................................. 3

D. Assumptions of the Study ........................................................................... 5

E. Limitation of the Study ............................................................................... 5

CHAPTER II

THEORETICAL FRAMEWORK ...................................................................... 6

A. Style, Stylistics and Stylistic Devices ......................................................... 6

B. Stylistic of Poetry ...................................................................................... 10

C. Poetic Devices ........................................................................................... 12

1. Rhymes ............................................................................................... 12

2. Figures of Speech ............................................................................... 13

D. Poetic Devices in Song Lyrics .................................................................. 28

CHAPTER III

METHODOLOGY OF THE RESEARCH ...................................................... 31

A. Research Method ....................................................................................... 31

B. Data Gathering Process ............................................................................. 31

C. Quantification ............................................................................................ 33

CHAPTER IV

FINDINGS AND DISCUSSION ........................................................................ 34

A. Findings ..................................................................................................... 34

B. Discussion ................................................................................................. 35

1. End Rhyme ......................................................................................... 35

2. Asyndeton........................................................................................... 37

3. Alliteration ......................................................................................... 38

vi

4. Internal Rhyme ................................................................................... 39

5. Ellipsis ................................................................................................ 40

6. Parallelism .......................................................................................... 40

7. Assonance........................................................................................... 41

8. Anaphora ............................................................................................ 42

9. Conduplicatio ..................................................................................... 43

10. Epizeuxis ............................................................................................ 43

11. Personification .................................................................................... 44

12. Polysyndeton ...................................................................................... 45

13. Antithesis ............................................................................................ 45

14. Simile ................................................................................................. 46

15. Paradox ............................................................................................... 47

16. Epistrophe........................................................................................... 48

17. Synecdoche......................................................................................... 49

18. Metaphor ............................................................................................ 50

19. Hyperbaton ......................................................................................... 51

20. Consonance and Onomatopoeia ......................................................... 51

21. Apposition and Parenthesis ................................................................ 52

22. Chiasmus and Antimetabole............................................................... 54

23. Irony and Oxymoron .......................................................................... 55

24. Eye Rhyme, Rhetorical Question and Polyptoton .............................. 56

CHAPTER V

CONCLUSIONS AND SUGGESTIONS .......................................................... 58

A. Conclusions ............................................................................................... 58

B. Suggestions ................................................................................................ 59

SYNOPSIS ........................................................................................................... 60

BIBLIOGRAPHY ............................................................................................... 62

APPENDICES ..................................................................................................... 67

vii

List of Figures

Figure 1

Correlation between Levels of Language, Stylistic Device and Context………… 8

Figure 2

Efficiency Tools in the Speech of Martin Luther King, Jr……………………….. 9

Figure 3

Correlation between Poetry Language

and Poetic Devices based on the Notion of Foregrounding…………………….. 11

Figure 4

Illustration of Chiasmus…………………………………………………………. 27

Figure 5: Illustration of Chiasmus Found in The Lamb Lies down on Broadway………… 54

viii

List of Tables

Table 1

Major Levels of Language in Stylistic Analysis………………………………….. 7

Table 2

Amounts and Percentages of Poetic Devices …………………………………… 34

Table 3

Examples of Two Rhyming Lines ……………………………………………… 36

Table 4

Example of Three Rhyming Lines………………………………………………. 36

Table 5

Example of Four Rhyming Lines………………………………………………... 36

Table 6

Example of Asyndeton between Clauses ……………………………………….. 37

Table 7 Examples of Asyndeton between Words and Phrases…………………………... 37

Table 8

Examples of Alliteration………………………………………………………… 38

Table 9

Examples of Internal rhyme……………………………………………………... 39

Table 10

Examples of Ellipsis…………………………………………………………….. 40

Table 11

Examples of Parallelism………………………………………………………... 41

Table 12

Examples of Assonance…………………………………………………………. 41

Table 13

Examples of Anaphora…………………………………………………………... 42

Table 14

Examples of Conduplicatio……………………………………………………… 43

ix

Table 15

Examples of Epizeuxis…………………………………………………………... 44

Table 16

Examples of Personification…………………………………………………….. 44

Table 17

Example of Polysyndeton……………………………………………………….. 45

Table 18

Examples of Antithesis………………………………………………………….. 46

Table 19

Examples of Simile……………………………………………………………… 47

Table 20

Examples of Paradox……………………………………………………………. 47

Table 21

Examples of Epistrophe…………………………………………………………. 48

Table 22

Data of Synecdoche……………………………………………………………... 49

Table 23

Data of Metaphor………………………………………………………………... 50

Table 24

Data of Hyperbaton…………………………………………………………….... 51

Table 25

Data of Consonance and Onomatopoeia……………………………………........ 52

Table 26

Data of Apposition………………………………………………………………. 53

Table 27

Data of Parenthesis……………………………………………………………… 53

Table 28

Data of Chiasmus………………………………………………………………... 54

Table 29

Data of Antimetabole……………………………………………………………. 55

x

Table 30

Data of Irony…………………………………………………………………….. 55

Table 31

Data of Oxymoron………………………………………………………………. 56

Table 32 Data of Eye Rhyme, Rhetorical Question and Polyptoton……………………… 56

1

CHAPTER I

INTRODUCTION

A. Background of the Research

A work of art has several characteristics which correspond to a certain genre

and media it belongs to, period of time when it is made, particular contexts it fits

in and so forth. For instance, visual arts made in the era of Renaissance are

different from those made in the 21st century. The former are made in fully artistic

context with a lot of curve shapes here and there while the latter are made in post-

modernism context with a lot of minimalisms in all directions.

Likewise, song lyrics also have several features which relate to their

context, theme, style etc. For example, lyrics of love songs are generally made for

romantic, sentimental and melodramatic purposes with the usages of love-related

dictions and discourses etc. This can be illustrated by some lines in Baby I‘m-a

Want You song lyric by American rock band, Bread, which is elaborated as

follows,

Your lovin' and affection

Givin' me direction

Like a guiding light to help me through a darkest hour

Lately I'm a-prayin'

That you'll always be a-stayin' beside me

2

The main theme of the above lines is clearly love which can be seen by the usages

of love-related discourses in the first, second and last lines. Another example,

lyrics of rap songs are usually made for rebellion purpose with many usages of

idiomatic expressions, slangs, rhymes, swearwords etc. This can be exemplified

by some lines from Eminem‟s rap song, Without Me, which are elaborated as

follows,

A-tisket a-tasket, I go tit for tat with

anybody who's talkin‟ this shit, that shit

Chris Kirkpatrick, you can get your ass kicked

worse than them little Limp Bizkit bastards

And Moby? You can get stomped by Obie

You thirty-six year old baldheaded fag, blow me

It is obvious that the above excerpt consists of a nursery rhyme (a-tisket a-tasket),

an idiomatic expression (tit for that) and some swearwords (shit and bastards),

which are typical in lyrics of rap songs. Clearly, song lyrics, like other works of

art, have its own place, context, genre, purposes etc which are indicated by their

analyzable characteristics.

Genesis‟ concept album released in 1974, The Lamb Lies down on

Broadway, is well received by progressive rock fans and music critics, so that

there are numbers of positive reviews about this album in the internet. Having

read all the reviews about the album, the writer was curious to listen to the record

and read all the lyrics. After having read and interpreted them, the writer felt that

the lyrics were like a group of poems, for there were several poetic devices

utilized in them. For example, the writer found some rhyming words in some

3

lyrics like alliteration and internal rhyme. Lines like “and the lamb lies down on

Broadway‖ or “I’m counting out time‖ consist of rhyming words which are

alliteration and internal rhyme respectively. The writer also found some tropes

like personification and oxymoron. Lines like “yet the Broadway street scene

finds a focus in its face‖ and “muted melodies fill the echoing hall‖ consist of

tropes which are personification and oxymoron respectively.

There are certainly other lines which consist of other techniques of poem-

writing. This understanding makes the writer feel that the lyrics of the album are

poetic because of the utilizations of poetic devices. As Currie (1998) states that he

could probably write a novel or at least a master‟s thesis about this album, the

writer is also encouraged to write an undergraduate thesis about this album,

analyzing the lyrics which are provisionally considered to be poetic more

thoroughly.

B. Research Questions

After knowing that the lyrics of the album are provisionally considered to be

poetic because of the utilizations of poetic devices, there are some questions

emerged which are elaborated as follows,

1. What are the poetic devices used in the lyrics that make them poetic?

2. What is the poetic device that is majorly used?

C. Aims of the Research

Speaking of analyzing song lyrics, there are several approaches or points of

view that can be followed, and they will lead to what kind of analysis that is about

4

to conduct. Lyrics can be analyzed based on the study of semiotics which analyzes

the lyrics‟ sign process, stylistic study that deals with analyzing the lyrics‟

linguistic signs to determine their style and content analysis which studies the

lyrics‟ content of communication. Based on the statements stated in section B

above, it is obvious that this research is about style of the lyrics (poetic) and

causes that make the lyrics have that particular style (poetic devices). Therefore,

the writer opines that the study of stylistic is suitable for this research.

Malmkjær (2002: 510) states that the purposes of stylistic analyses can be

simply descriptive (e.g. ―scientific text is tended to use passive voice‖),

descriptive with the explanatory (e.g. ―scientists utilize passive voice in order to

describe general process which are independent of the individual scientist‖) or

interpretative (―by using passive voice scientist release themselves from any

responsibility for their actions‖). The writer, however, chooses to conduct a

simply descriptive stylistic analysis in order to find kinds of poetic devices used in

The Lamb Lies down on Broadway album. Thus, the research purposes are

elaborated as follows,

1. Looking for every poetic device found in the lyrics of The Lamb Lies

down on Broadway album by Genesis.

2. Collecting every poetic device found in the lyrics of The Lamb Lies


3. Classifying the poetic devices found in the lyrics of The Lamb Lies


4. Quantifying the poetic devices found in the lyrics of The Lamb Lies


5. Drawn a general conclusion.

5

D. Assumptions of the Study

Hypothetically, poetic devices can be defined as techniques or tools used in

poetry which improve the quality of a poetry. In other words, poetic devices make

a poem sounds, looks and feels like a poem. Poetic devices have various kinds

which include figures of speech (like assonance, oxymoron, synecdoche and so

forth), formal elements of poetry (such as rhyme, rhythm, kinds of stanza meter

etc) and other literary devices (like imagery, point of view and so forth).

Although poetic devices are generally used in poetry, they can also be used

in other language-based works like short stories, novels, jargons, dramas, public

speaking, screenplays, song lyrics etc. However, not all poetic devices can be

applied in works outside poetry. As a result, presumably there are several kinds of

poetic devices used in the lyrics of The Lamb Lies down on Broadway album, but

not all of them can be found in the lyrics.

E. Limitation of the Study

Alwasilah (2008) states that in order to avoid over ambition in a research,

there should be a focus as an effort of limitation or delimitation. Therefore, the

writer chooses to focus this research on poetic devices which are included in

rhymes and figures of speech.

6

CHAPTER II

THEORETICAL FRAMEWORK

A. Style, Stylistics and Stylistic Devices

In linguistics field the correlation between a product of spoken and written

language and its context, genre, certain period of time and so on which is

indicated by its characteristics is dealt by the study of stylistics. This notion is

along with that stated by Malmkjær (2002: 510) who utters that ―stylistics is the

study of style in spoken and written text. By style is meant a consistent occurrence

in the text of certain items and structures, or types of items and structures, among

those offered by the language as a whole.‖

By using the point of view of stylistics it can be seen that the language of

advertising, political oration, poetry, religion, individual author or the language of

a time period are used particularly and belong to a particular situation. On the

other hand, ―they all have ‗place‘ or are said to use particular ‗style‘‖1. The style

of a product of spoken or written language can be known by analyzing its levels

of language one by one. Simpson (2004: 5) lists the major levels of language and

their related technical terms in language study which can be analyzed in stylistic

study and make the analysis itself more organized and principled. Thus, they are

listed as follows,

1 Stylistics (linguistics). (2009, June 19). Retrieved July 13, 2009, from www.wikipedia.com:

http://en.wikipedia.org/wiki/stylistics (linguistics)

7

Table 1

Major Levels of Language in Stylistic Analysis

No Level of Language Branch of language Study

1

The sound of spoken

language; the way words

are pronounced.

Phonology; phonetics

2

The patterns of written

language; the shape of

language on the page.

Graphology

3

The way words are

constructed; words and

their constituent structures.

Morphology

4

The way words combine

with other words to form

phrases and sentences.

Syntax; grammar

5 The words we use; the

vocabulary of a language. Lexical analysis; lexicology

6 The meaning of words and

sentences Semantics

7

The way words and

sentences are used in

everyday situations; the

meaning of language in

context

Pragmatics; discourse analysis

(Simpson, 2004: 5)

By analyzing those seven levels of language, the context or style owned by

a spoken utterance or written text can be determined more or less. For example,

the simple sentence go! can be analyzed in, say, graphology and syntax level. In

graphology level the sentence is typed in Roman alphabet with bolded twelve-

point-sized Arial font. Furthermore, the exclamation point at the end of the

sentence points out that it has an emphatic style of vocal delivery. While in syntax

or grammar level, the sentence is in imperative mood expressing direct command

or request. The sentence asks everyone who reads or hears it (the second person)

8

to do what it says (to go). Clearly this simple sentence can be stylistically

analyzed in other levels of language which can clarify the style owned by the

sentence.

One, two or more levels of language may be related to one or more

“techniques to give an auxiliary meaning, idea, or feeling to the literal or

written‖2 called stylistic device. Stylistic devices are varied and can be seen from

various points of view depending on the context or style owned by an utterance or

written text. The correlation between levels of language, stylistic device and

context etc may be graphically depicted as follows,

Adapted from Smith (1980: 170)

One of the examples of the application of this correlation is the research

done by Smith (ibid: 171) which analyzes the efficiency tools in the speeches of

2 Stylistic device. (2009, June 16). Retrieved July 15, 2009, from www.wikipedia.com:

http://en.wikipedia.org/wiki/Stylistic devices

Context, Style etc

Stylistic Device

Stylistic Device

Stylistic Device Level of language

Level of language

Level of language

Level of language

Level of language

Level of language

Figure 1

Correlation between Levels of Language,

Stylistic Device and Context

http://en.wikipedia.org/wiki/Auxiliary

9

Martin Luther King Jr. focusing on syntax level. The research points out that the

speeches of Dr. King are full of simple structural devices or, in other word, they

are considered to have the style of efficiency. Moreover, the research shows that

there are five stylistic devices used in the speeches of Dr. King in order to make

them efficient i.e. inter-sentence markers, markers of relationship between

markers, sequential clauses, simple sentences and potential terminal points. To

sum up, Smith‟s research can also be graphically depicted as follows,

Figure 2

Efficiency Tools in the Speech of Martin Luther King, Jr.

Smith (1980: 170)

In a nutshell there is a close relation between style, stylistic and stylistic

devices, so that they cannot be separated. Moreover, this relation makes a stylistic

analysis more fruitful and understandable.

Efficiency Syntax

Inter-sentence Markers

Markers of Relationship between Clauses

Sequential Clauses

Potential Terminal Points

Simple Sentences

10

B. Stylistic of Poetry

Etymologically speaking, the word poetry is derived from the Greek poeisis

(ποίησις) meaning a making. Not only can it mean several things but refer to many

things as well. It can be theoretical, expressive, over-romantic; it can paint

pictures, tell stories, entertain people or even criticize someone. Nevertheless, all

of these cannot specify what poetry is, for they can also be done by other kinds of

writing or speaking. Despite this particular fact, there is one definition that might

make poetry distinctive i.e. ―language in which every component element—word

and word order, sound and pause, image and echo—is significant, significant in

that every element points toward or stands for further relationships among and

beyond themselves‖ (Wolosky, 2001). From this particular definition it can be

said that poetry has not only elements which differentiate it from another but a

patterned language as well.

The language of poetry and literature in general, has a tendency of being

different from that of the standard language, for it is highly patterned and violates

the rules of standardized grammar (Malmkjær and Carter, 2002: 513). In the

stylistic point of view, this is along with the notion of foregrounding which is

translation from the term used by the Prague School Linguist (ibid: 440). Simpson

(2004: 50) states that ―foregrounding refers to a form of textual patterning which

is motivated specifically for literary aesthetic purposes.‖ It involves features

which disobey linguistic rules and are brought into front by means of repetition or

parallelism. On the other hand, foregrounding comes in two main appearances

which are „deviation of the norm‟ and „more of the same‟ (ibid).

11

The language of poetry can also be called poetic which is defined as

―having a quality or style characteristic of poetry‖ according to the fourth edition

of The American Heritage Dictionary of the English Language.3 The features,

methods, techniques or devices that make a certain language work considered to

be poetic are called poetic devices i.e. ―the intentional use or arrangement of

words to produce a specific, expressive, and striking effect by departing from

ordinary, usual language‖ 4. Thus, the phenomena of poetry language or poetic

which is along with the notion of foregrounding and poetic devices can be

graphically depicted as follows.

Figure 3

Correlation between Poetry Language and Poetic Devices

based on the Notion of Foregrounding

Adapted from Smith (1980: 170)

3 Poetic. (2009). Retrieved August 10, 2009, from www.thefreedictionary.com: http://www.thefreedictionary.com/poetic 4 Wang, J. (2010, March 6). Literary and Poetic Devices . Retrieved May 1, 2011, from www.docstoc.com:

http://www.docstoc.com/docs/42046149/Literary-and-Poetic-Devices.

Level of language

Level of language Poetry Language (Poetic)

Poetic Device

Poetic Device

Poetic Device

Level of language

Level of language

Level of language

Level of language

12

C. Poetic Devices

Poetic devices have assorted kinds which include formal elements of poetry

(such as rhythm, kinds of stanza meter, rhyme scheme etc), figures of speech (like

assonance, oxymoron, synecdoche etc) and other literary devices (like imagery,

point of view and so forth). This research focuses on poetic devices included in

rhymes and figures of speech; thus, they are elaborated as follows.

1. Rhymes

Rhyme is defined as ―a word that is identical to another in its terminal

sound.‖5 For example, the words distortion, fictive, swallow and apply rhyme

with obsession, active, shallow and goodbye respectively. This particular poetic

device has several types i.e. end rhyme, internal rhyme and eye rhyme among

others. End rhyme refers to ―all rhymes occur at line ends‖6, and is the most

common kind of rhyme. This type of rhyme can be exemplified by the excerpt of

Robert Frost‟s poem entitled Stopping by Woods on a Snowy Evening which is

elaborated as follows,

Whose woods these are I think I know, /nəʊ/

His house is in the village, though; /ðəʊ/

Internal rhyme, on the other hand, refers to ―a variety of rhyming structures

which have to do not with rhyming words solely at line end but line-internally‖

(Brogan T. V., 1993: 613). Usually, it occurs in a line wherein one word located

5 Rhyme. (2011, April 27). Retrieved May 3, 2011, from www.thefreedictionary.com:

http://www.thefreedictionary.com/rhyme. 6 Rios, A. (2000, September 9). Glossary of Rhymes. Retrieved May 3, 2011,

from www.asu.edu: http://www.public.asu.edu/~aarios/formsofverse/furtherreading/page2.html

http://www.asu.edu/

13

in the middle of the line rhymes with another word at the end of the line; however,

it generally denotes all rhymes happening in mere one line. This type of rhyme

can be exemplified by the following excerpt taken from Taylor Swift‟s song

entitled A Place In This World which is elaborated as follows.

- I‟ll be strong, I‟ll be wrong, oh but life goes on

/strɒŋ/ /rɒŋ/ /ɒn/

- A singer in a smoky room, the smell of wine and cheap perfume

/ruːm/ /pəˈfjuːm/

While rhyme in general deals with identical terminal sound of words, eye

rhyme, on the contrary, deals with ―two (or more) words which to the eye seem to

rhyme, in that their spelling is nearly identical (both begin differently but end

alike), but to the ear (that is, in pronunciation) do not‖ (Brogan T. V., 1993: 399).

Some examples of this rhyme are move (/muːv/) and love (/lʌv/), bough (/baʊ/)

and though (/ðəʊ/), come (/kʌm/) and home (/həʊm/) etc.

2. Figures of Speech

Figures of speech have been categorized variously and in numerous ways;

however, the simplest categories are the divisions of tropes and schemes (Burton,

2007). The former refer to the use of words or expressions that are different from

their literal meaning, and the latter denote ways of deviating the ordinary use and

order of words to create certain effect. On the other hand, figures of speech relate

14

to the use of a language which is different from its normality; specifically, tropes

are meaning-oriented, and schemes are structure-oriented.

a. Tropes

According to Burton (ibid) tropes are divided into five categories i.e.

reference to one thing as another, wordplay and puns, substitutions, overstatement

or understatement and semantic Inversions. Thus these categories are elaborated

as follows.

1. Reference to one thing as another

a. Metaphor

It is a figure of speech that creates an analogy between two

concepts, and the analogy is communicated via the utilization of

metaphorical or figurative words.

Example: love's the funeral of hearts, and an ode

for cruelty (Excerpt of HIM‟s song lyrics

entitled Funeral of Hearts).

The above example illustrates the subject love which is

analogized as funeral of hearts and an ode for cruelty.

b. Simile

It is most traditionally defined as a clear association using the

word like or as.

15

Example: Human speech is like a cracked

cauldron on which we bang out tunes

that make bears dance, when we want to

move the stars to pity (Excerpt of

Gustave Flaubert‟s novel entitled

Madame Bovary).

c. Synecdoche

It is the poetic device in which an entirety is symbolized by

naming one of its components, or vice versa (one component is

symbolized by naming its entirety). The former is named

synecdoche totum pro parte, and the latter is labeled synecdoche

pars pro toto.

Example: - In the 2010 Winter Olympics,

Canada won 14 gold medals

(Synecdoche totum pro parte).

- Michael Schumacher is behind the

wheel now (Synecdoche pars pro

toto).

In the first example, the subject Canada merely refers to the

athletes competing in Winter Olympics, not the whole nation. In

16

the second example, on the other hand, the phrase behind the

wheel refers to the whole car, not mere the mentioned parts.

d. Personification

It is defined as a figure of speech which gives human

characteristics to nonhuman things, objects or concepts.

Example: The wind stood up and gave a shout

(Excerpt of James Stephens‟ poem

entitled The Wind).

Human characteristics in the above example (stood up and gave

a shout) are given to the subject wind, which is a nonhuman

thing.

2. Wordplay and Puns

a. Onomatopoeia

It denotes the invention of a word whose sound imitates the

objects or actions it refers to.

Example: The clock is ticking now.

The verb is ticking in the above example is derived from the

word tick whose sound imitates the actual sound of a clock‟s

mechanism.

17

b. Antanaclasis

It is the repetition of a single word, but with a different meaning

whenever it is repeated.

Example: You‘re not pretty, but you‘re pretty ugly

The word pretty in the above example initially means beautiful

or attractive, but in the second instance it means moderately.

3. Substitutions

a. Anthimeria

It refers to the use of a word as if it is a member of a different

part of speech.

Example: The interior designer is trying to funkify

this building

The word funky in the above example is used as if it is a verb by

adding the suffix –fy.

b. Periphrasis

It refers to the use of several words or phrases to substitute a

certain obvious proper name.

Example: The country of the rising sun is well

known its typical sword called samurai

18

The phrase the country of the rising sun in the above example

actually refers to Japan.

4. Overstatement and Understatement

a. Hyperbole

It refers to the use of exaggeration as a rhetorical device or

figure of speech.

Example: Six million teardrops poured when she‘s

sad.

The above example illustrates that the speaker bombastically

can count the amount of teardrops.

b. Litotes

It is defined as purposeful underestimation to communicate a

thought by denying its opposite.

Example: I am not as rich as I was.

The statement above is an understatement version of saying that

the subject is actually poor.

5. Semantic Inversion

a. Rhetorical question

It is generally defined as any question asked for persuasive

effect, and not aimed to acquire respond or information.

19

Example: Are you really a man?

The question above is not intended to ask whether the object you

is a male or the opposite; instead, it is meant to persuade the

object‟s masculinity.

b. Irony

It refers to the expression of contrast for the purpose of ridicule,

mockery or jest.

Example: You sang beautifully, and I was wearing

earplugs during your performance.

The singer‟s performance in the above statement was actually

bad, but the speaker states the opposite to ridicule the singer‟s

horrible performance.

c. Oxymoron

It is a figure of speech which joins two opposing elements side

by side.

Example: The Astronauts are doing a simulation in

Virtual Reality.

The word virtual in the above example refers to something that

is not authentic; while reality, on the contrary, denotes the state

20

of being actual. These two words oppose one another, but are

placed next to each other.

d. Paradox

It is defined as a figure of speech in which a statement appears

to contradict itself.

Example: The richest person in this village is the

one who go everywhere on foot.

The above statement contradicts by itself because of illustrating

the richest person who supposedly has vehicles, but goes

everywhere on foot.

b. Schemes

According to Burton (2007) tropes are divided into four categories i.e.

structures of balance, changes in word order, omission and repetition. Thus these

categories are elaborated as follows.

1. Structures of Balance

a. Parallelism

It refers to the repetition of similar syntactic patterns in

neighboring phrases, clauses, or sentences.

21

Example: My hobbies are playing games, listening

to rock music and watching television.

In the above example, verb phrases in participial form (playing

games, listening to rock music and watching television) are

repeated in parallel pattern.

b. Antithesis

It is defined as placing contrast ideas simultaneously in adjacent

or parallel phrases or clauses.

Examples: It was the finest time, but it was the most

horrible time.

The above statement is a paralleled structure consisting of two

clauses joined by the conjunction but. However, the clauses

contradict each other.

c. Climax and Anticlimax

Climax is the arrangement of words, phrases or clauses in an

order from the least important to the most. Anticlimax, on the

other hand, is the opposite of climax i.e. the arrangement is from

the most important to the least.

22

Example: - I‘m ready to do my best for my

family, my nation and my religion

(Climax).

- Firstly, you must pray to Allah,

and then you do the best you can

(Anticlimax).

2. Changes in word order

a. Hyperbaton

This figure of speech refers to the syntactic disorder. It modifies

and deviates the normal word order.

Example: For five years have I studied here

The normal order of the above sentence should be I have studied

here for five years.

b. Parenthesis

It refers to placing some words that interrupts a sentence. It is

often indicated by the use of bracket.

Example: Most of the rock keyboard players are

capable, because of having had formal

education, in playing classical music.

23

The phrase because of having had formal education in the above

example actually interrupts the normal sentence most of the rock

keyboard players are capable in playing classical music.

c. Apposition

It refers to the use of two coordinate elements in which the

second element explains or modifies of the first.

Example: My English teacher, Mr. Odo, is

celebrating his 50th

anniversary.

The proper noun Mr. Odo in the above sentence actually

explains the subject my English teacher.

3. Omission

a. Ellipsis

It refers to an omission of a word or short phrase which is easily

understood in context. It is done deliberately in order to shorten

the sentence to avoid redundancy.

Example: Travis can sing some songs, but I don‘t

know what.

The above example is the elliptical sentence for Travis can sing

some songs, but I don‘t know what songs Travis can sing.

24

b. Asyndeton

It is defined as the omission of conjunctions between clauses.

This figure of speech results some particular effects such as a

hurried rhythm or vehement effect.

Example: you can sing, I can dance

The above example consists of two clauses without conjunction.

However, the clauses can be connected by conjunction and

4. Repetition

a. Alliteration

It is defined as the repetition of consonant sound in a sequence

of nearby words. More specifically the repeated consonant is in

the initial position of the neighboring words‟ first syllables.

Example: Tyger, tyger burning bright,

/taɪɡə taɪɡə bɜːnɪŋ braɪt/

(Excerpt of William Blake‟s poem

entitled The Tyger).

b. Assonance

It can be defined as repetition of similar vowel sounds, preceded

and/or followed by different consonants in neighboring words.

Example: This is Jill sitting with Bill.

/ðɪs ɪz dʒɪl ˈsɪtɪŋ wɪð ˈbɪl/

25

c. Consonance

It refers to the consecutive use of words whose consonants are

similar in the same position, but their vowels are different.

Example: He‘s the best beast in the world

/best//biːst/

d. Anaphora

Anaphora is defined as the repetition of the same word or words

at the beginning of consecutive phrases, clauses, sentences, or

lines.

Example: He is the leader who has spirit and

passion. He is the leader who works day

and night. He is the leader, the true

leader.

e. Epistrophe

Epistrophe is defined as the repetition of words at the ends of

clauses, lines, or stanzas.

Example: I can‘t live without you. Life seems so

mundain without you.

26

f. Anadiplosis

It is a figure of speech in which the last word of a constituent

(sentence, clause or line) is repeated at the beginning of the next

consecutive one.

Example: The frog was a prince, the prince was a

brick, the brick was an egg, the egg was

a bird (Supper‟s Ready by Genesis).

g. Chiasmus

It refers to structure where elements are repeated in reverse, to

form ABBA pattern. The first element is similar to the last, and

the second one is similar to the third. The similarity can be

based on meaning, parts of speech, sense and so forth.

Example: The beginning of time, is the era of

establishment.

In the above example, the word beginning is similar to the word

establishment in meaning. Likewise, the word time is similar to

the word era in meaning. On the other hand, the sentence is

graphically depicted as follows.

27

Figure 4

Illustration of Chiasmus

h. Antimetabole

It refers to the repetition of words in consecutive clauses, but in

inverted grammatical arrangement.

Example: Live to fly, fly to live.

i. Epizeuxis

It refers to the uninterrupted repetition of words in abrupt

sequence, for emphasis effect.

Example: My brother is very, very, very, very,

very, very, very tall.

j. Conduplicatio

It refers to the repetition of word or words as a mean of

specification, meaning that the repeated word or words specify

the former.

The beginning of time

A B

Is the era of establishment

B A

28

Example: Albert is composing a progressive rock

song for his band‘s forthcoming album.

The song talks about an epic battle.

In the above example, the word song is repeated twice. The

second repeated word explains or specifies that the song which

is being composed talks about an epic battle.

k. Polysyndeton

This figure of speech refers to the use of numerous conjunctions

or the repetition of conjunctions (usually and).

Example: And you and I walked together in the

rain, but we didn‘t bring any umbrella

or raincoat.

D. Poetic Devices in Song Lyrics

Song lyrics, or just simply lyrics, are defined as ―the words of a song or

other vocal music.‖7 Nowadays, the term is usually in plural form referring to a

song‟s whole set of words, while the singular one denotes a part of the entirety.

Lyrics give meaning and insight, and evoke emotion; these are the things that

mere instrumentals cannot do effectively. A lyricist, the writer of lyrics, expresses

his feelings, imaginations, things he witnesses etc via lyrics based on his own

7 Lyric. (2011, May 2). Retrieved May 4, 2011, from Wiktionary, A Wiki-based Open Content Dictionary:

http://en.wiktionary.org/wiki/lyric

29

style indicated by his background. As a result, lyrics can have several themes like

love, rebellion, politics, social, antiestablishment, criticism, joke etc. Moreover,

there are several ways or technique to communicate those themes.

One of the most common and important techniques in crafting song lyrics is

the usage of poetic devices which is applicable in corresponding nearly all

themes. Starrett (2010) states that ―the same virtues that make a good poem-

effective imagery, compelling themes, emotional evocativeness and originality-

also make a good song lyric.‖ Furthermore, she utters that ―poetry and song

lyrics both benefit from well-applied poetic devises, such as metaphor, simile,

alliteration, hyperbole, personification, onomatopoeia. And both rely on the

effective use of descriptive imagery.

This can be illustrated by rap lyrics which utilize some poetic devices like

rhymes, alliteration and other forms of wordplay that are also found in classical

poetry. For example, the following excerpt taken from Tupac Shakur‟s song

entitled Young Black Male contains wordplays which is rhyme scheme; thus, the

excerpt is elaborated as follows.

Follow me into a flow /fləʊ/

I'm sure you know, which way to go /ɡəʊ/

I'm hittin em out of the dopes /dəʊps/

So slip on the slope, let's skip on the flow /fləʊ/

I'm fuckin the sluts and hoes /həʊz/

The bigger the butts the tighter the clothes /kləʊðz/

The gimminy jimminy grows /ɡrəʊz/

Then whaddya know, it's off with some clothes /kləʊðz/

Rowd when the crowd says hoe /həʊz/

That let's me know, they know I can flow /fləʊ/

Love when they come to my shows /kləʊðz/

30

Another illustration is the epic song by Genesis entitled Supper‘s Ready which

contains some poetic devices. It contains selected simile which is illustrated in the

exemplary line ―we watch in reverence, as Narcissus is turned to a flower.‖ It

also contains an anadiplosis demonstrated in the line ―The frog was a prince, the

prince was a brick, the brick was an egg, the egg was a bird.‖ There are of course

some other poetic devices utilized in the lyrics to communicate the epicness of the

song. In a conclusion, poetic devices can help transform mundane lyrics to first

rate ones if they are used appropriately.8

8 Poetic Devices in Lyrics. (2011, May 1). Retrieved May 4, 2011, from www.musiclyricsfyi.com:

http://www.musiclyricsfyi.com/poetic-devices-in-lyrics.html

31

CHAPTER III

METHODOLOGY OF THE RESEARCH

A. Research Method

The writer uses descriptive and quantitative methods in this research. The

former refers to the method of research designed to gather information about

conditions of tendencies while a research is being conducted. Furthermore, there

is no treatment or control given to the variables in this method (Furchan, 2004).

The latter refers to the research based on the measurement of quantity or amount

(Kothari, 2004). The use of quantitative research is based on Nurgiyantoro (2005)

who states that stylistic analysis requires quantitative method to reduce

subjectivity. As a result, this research is a non-experimental research, meaning

that it merely describes measured findings.

B. Data Gathering Process

In data gathering process, the writer uses agih method with its basic

technique named bagi unsur langsung (BUL) (Sudaryanto, 1993). Agih method

(distributional method) refers to the method used to analyze a language based on

the principles of the language itself. The determinant of this method is parts or

elements of the analyzed language like phoneme (vowel, consonant, diphthong

etc), word (adverb, preposition, noun etc), syntactic function (subject, verb,

object, adverbial, complement etc), meaning (associative meaning, connotative

32

meaning, denotative meaning etc) and so forth. While BUL technique

(segmenting immediate constituent technique) is the technique of language

analysis via immediately segmenting the data into several linguistic constituents

in certain linguistic levels. Results of BUL technique are categorized into certain

poetic devices based on their characteristics, and considered as data. On the other

hand, data (D) equal gegestand (G) plus context (C) (Sudaryanto, 1991). The term

gegestand refers to the kind of poetic device owned by particular data, and context

denotes the linguistic constituents having the characteristics of the intended poetic

device. Furthermore, the data are numbered and presented in appendix section for

the sake of simplicity.

As an example, the sentence science spoils societies can be segmented

phonologically by using BUL technique which is elaborated as follows.

Science /s/ - /aɪ/ - /ə/ - /n/ - /s/

Spoils /s/ - /p/ - /oɪ/ - /l/ - /z/

societies /s/ - /ə/ - /s/ - /aɪ/ - /ə/ - /t/ - /ɪ/ - /z/

From the above segmentation it can be said that the sentence are categorized as

alliteration because of their having identical consonant in the initial position (/s/).

Thus, the sentence is considered to be one data and numbered (1).

33

C. Quantification

Since that the data are firstly in the form of words, phrases and sentences,

they are categorized as qualitative data which is defined as ―…any information

that can be captured that is not numerical in nature‖ (Trochim, 2006) . However

the data can be transformed into quantitative data via measuring their frequencies

as Nurgiyantoro (ibid) states that in order to observe the distinctive style owned

by a text which differs it to another, measuring the frequency of the text‟s

linguistic signs can be performed. Furthermore, the quantitative data are presented

in the form of percentage using the following formula.

N = Amount of particular poetic device

∑ = Amount of all data

For example, if the amount of metaphor is 66 and the total amounts of all data are

500, the percentage of the particular poetic device is 13.2 % based on the

following operation.

Finally, from the percentages of all categories, the poetic device which is used so

often can be found.

34

CHAPTER IV

FINDINGS AND DISCUSSION

A. Findings

The table below lists the poetic devices found in the song lyrics The Lamb

Lies down On Broadway album, and the amount and percentage of each poetic

device. Thus the table is elaborated as follows.

Table 2

Amounts and Percentages of Poetic Devices

No. Poetic Device Total Percentage

1 End Rhyme 165 31%

2 Asyndeton 64 12%

3 Alliteration 62 12%

4 Internal Rhyme 53 10%

5 Ellipsis 34 6%

6 Parallelism 20 4%

7 Assonance 17 3%

8 Anaphora 16 3%

9 Conduplicatio 13 2%

10 Epizeuxis 12 2%

11 Personification 10 2%

12 Polysyndeton 10 2%

13 Antithesis 10 2%

14 Simile 10 2%

16 Paradox 8 1%

17 Epistrophe 8 1%

18 Synecdoche 4 1%

15 Metaphor 3 1%

19 Hyperbaton 3 1%

20 Parenthesis 2 0,4%

21 Consonance 2 0,4%

22 Onomatopoeia 2 0,4%

35

23 Apposition 2 0,4%

24 Irony 1 0,2%

25 Eye Rhyme 1 0,2%

26 Oxymoron 1 0,2%

27 Chiasmus 1 0,2%

28 Antimetabole 1 0,2%

29 Rhetorical Question 1 0,2%

30 Polyptoton 1 0,2%

Total 537 100%

From the above table, it can be seen that there are thirty kinds of poetic

devices used in the album, and end rhyme is the one that is mostly used. One

hundred and sixty five data are identified to be categorized as end rhyme which

covers thirty percent of the total five hundred thirty seven data more or less.

B. Discussion

The writer analyzes the lyrics of the album based on words, phrases,

clauses, sentences and lines to find characteristics that match the criterion of

certain poetic device. The one whose attributes match a poetic device is

considered as one data based on the explanation stated in chapter three previously.

The followings are explanations of each poetic device found in the album.

1. End Rhyme

This poetic device is the one that is the most frequently utilized in the

album, and can be found in all song lyrics. The writer discovers that in this album,

end rhyme is found in two, three and four lines. Two rhyming lines can be

exemplified by the second stanza‟s first six lines of the first song entitled The

Lamb Lies down on Broadway which are detailed as follows.

36

Table 3

Examples of Two Rhyming Lines

Number

of Data Data Line(s) Stanza

2 Early morning Manhattan, /mænˈhætn /

Ocean winds blow on the land. /lænd/ 1 & 2 2

4 The Movie-Palace is now undone, /ʌnˈdʌn/

The all-night watchmen have had their fun. /fʌn/ 3 & 4 2

6 Sleeping cheaply on the midnight show, /ʃəʊ/

It's the same old ending-time to go. /ɡəʊ/ 5 & 6 2

Next, three lines that have end rhyme can be illustrated by line five, six and seven

in the second stanza of the fourth song entitled In The Cage which are elaborated

as follows.

Table 4

Example of Three Rhyming Lines

Number


115

But my cynic soon returns /rɪˈtɜːnz/

And the lifeboat burns. /bɜːnz/

My spirit just never learns. / lɜːnz/

5 - 7 2

Finally, four rhyming lines can be demonstrated by line one to four in the third

stanza of the seventh song entitled Counting Out Time. Thus, the lines are detailed

as follows.

Table 5

Example of Four Rhyming Lines

Number


237

Found a girl I wanted to date, /deɪt/

Thought I'd better get it straight. /streɪt/

Went to buy a book before it's too late. /leɪt/

Don't leave nothing to fate. /leɪt/

1 - 4 3

37

Furthermore, all data of end rhymes found in the album can be seen in table A.3.1

in appendix III.

2. Asyndeton

Asyndeton is the second mostly used poetic device of the album‟s song

lyrics, and occurs between clauses, words and phrases. The omission of

conjunction between clauses can be exemplified by lines in the second song

entitled Fly on a Windshield which are elaborated as follows.

Table 6

Example of Asyndeton between Clauses

Number


54 There's something solid forming in the air,

The wall of death is lowered in Times Square. 1 & 2 1

The above lines are categorized into asyndeton because of the absence of

conjunction between the clauses. The abovementioned clauses can be joined by

conjunction and which become

There's something solid forming in the air,

And the wall of death is lowered in Times Square.

Asyndeton occurring between words and phrases can be illustrated by lines in the

fourth song entitled In The Cage which are elaborated as follows.

Table 7

Examples of Asyndeton between Words and Phrases

Number


120 Stalactites, stalagmites 1 3

122 Shut me in, lock me tight. 2 3

38

Line one in the above example illustrates two words, which are nouns, that should

be joined by conjunction and. Similarly, line two shows two verb phrases

explaining line one which should also be joined by conjunction and. As a result

the abovementioned lines can become the following.

Stalactites and stalagmites

Shut me in and lock me tight.

Furthermore All data of asyndetons found in the album can be seen in table A.3.2

in appendix III.

3. Alliteration

This poetic device is the third mostly used poetic device of the album‟s song

lyrics and covers twelve percent of the total five hundred thirty seven data more or

less. To give some examples, the following lines taken from the song entitled The

Lamia are categorized as alliteration because of having words whose initial

consonants are similar. Thus the lines are listed as follows.

Table 8

Examples of Alliteration

Number


382 From familiar fragrance to flavours strange.

/frəm/ /fəˈmɪlɪə/ /ˈfreɪɡrəns/ /ˈfleɪvəz/ 4 1

393 Three vermilion snakes of female face,

/ˈfiːmeɪl/ /feɪs/ 3 4

412 Silent sorrow in empty boats.

/ˈsaɪlənt/ /ˈsɒrəʊ/ 2 7

414 A sickly sourness fills the room,

/ˈsɪkli/ /ˈsaʊənəs/ 3 7

39

Data (382) and (393) have words whose initial consonants are /f/, and data (412)

and (414) have words whose initial consonants are /s/. Furthermore, all data of

alliterations found in the album can be seen in table A.3.3 in appendix III.

4. Internal Rhyme

Internal rhyme is the fourth mostly used poetic device of the album‟s song

lyrics and covers relatively ten percent of the whole five hundred thirty seven

data. The following lines taken from the song entitled Anyway are examples of

internal rhyme found in the album because of having rhyming words that occur

inside each line. Thus the lines are illustrated as follows.

Table 9

Examples of Internal rhyme

Number

of Data Data

Line

(s) Stanza

358 Feel cold and old, it's getting hard to catch my breath.

/kəʊld/ /əʊld/ 5 1

359 's back to ash, now, you've had your flash boy

/æʃ/ /flæʃ/ 6 1

Data (358) has words which rhyme inside the line i.e. cold and old; these words

rhyme because of having similar terminal sound /əʊld/. Likewise, data (359)

contains words that rhyme inside the line i.e. ash and flash; these words rhyme

because of having identical end sound /æʃ/. Moreover, all data of internal rhymes

found in the album can be seen in table A.3.4 in appendix III.

40

5. Ellipsis

Ellipsis is the fourth commonly applied poetic device of the album‟s song

lyrics, and covers moderately six percent of the entire data. It can be exemplified

by the following data taken from the song entitled Back in N.Y.C. which are

elaborated as follows.

Table 10

Examples of Ellipsis

Number


209 Time to shave, shave it off, it off. 4 3

212 No time for romantic escape, 5 3

Both data are categorized as ellipsis because of the omission of subject and verb.

In data (209), there should be a subject it and a verb is, so the complete sentence

should be it is time to shave, shave it off, it off. Likewise, in data (212) there

should be a subject there and a verb is, so the complete sentence should be there

is no time for romantic escape. Furthermore, all data of ellipses found in the

album can be seen in table A.3.5 in appendix III.

6. Parallelism

Covering relatively four percent of the entire five hundred thirty seven data,

parallelism ranks fourth in the mostly employed poetic device of the album‟s song

lyrics. This poetic device occurs because of the reappearance of parallel syntactic

patterns in neighboring phrases, clauses, or sentences. It can be exemplified by the

following data taken from the song entitled The Lamia which are elaborated as

follows.

41

Table 11

Examples of Parallelism

Number

of Data Data

Line

(s) Stanza

390 Rael stands astonished doubting his sight,

Struck by beauty, gripped in fright; 1 & 2 4

404 'With their tongues, they test, taste and judge all that is mine. 3 5

In data (390) above, the participial phrases functioned as adverbials are repeated

(astonished, doubting his sight, struck by beauty, gripped in fright). In data (404),

on the other hand, the verbs are repeated (test, taste and judge). Furthermore, all

data of parallelisms found in the album can be seen in table A.3.6 in appendix III.

7. Assonance

The writer finds seventeen data which are categorized as assonance, and

cover relatively three percent of all data. The following exemplified data taken

from the first song entitled The Lamb Lies down on Broadway are classified as

assonances because of having words which contains similar vowels but different

consonants, and they are elaborated as follows.

Table 12

Examples of Assonance

Number


11 It seems they cannot leave their dream

/siːmz/ /liːv/ /driːm/ 8 2

29 Yet the Broadway street scene finds a focus in its face

/striːt//siːn/ 2 4

The words seems, leave and dream in data (11) contain similar vowel /iː/, but

different consonants. Similarly, the words street and scene in data (29) have

42

identical vowel /iː/, but different consonants. Moreover, all data of assonances

found in the album can be seen in table A.3.7 in appendix III.

8. Anaphora

The writer finds sixteen data grouped into anaphora because of having

successive clauses, sentences, or lines whose beginning words are repeated. The

perfect example for this particular poetic device is the following data taken from

the last song entitled It which are elaborated as follows.

Table 13

Examples of Anaphora

Number


517

it is chicken, it is eggs,

it is in between your legs. it is walking on the moon,

7 - 9 1

522

it is the jigsa. it is purple haze. it never stays in one place, but it's not a passing phase,

it is in the single's bar, in the distance of the face,

it is in between the cages, it is always in a space

it is here. it is now.

1 - 5 2

536 it is here. it is now

it is Real. it is Rael 5 & 6 4

From the above data, it can be seen that the words it and is are repeated in the

beginning of successive clauses and lines. Moreover, all data of anaphoras found

in the album can be seen in table A.3.8 in appendix III.

43

9. Conduplicatio

Covering relatively two percent of the entire data, conduplicatio ranks ninth

in the poetic device used in the album‟s song lyrics. It happens because of the

repetition of word or words for the purpose of specification like in the following

two data taken from the songs Fly on a Windshield and The Grand Parade of

Lifeless Packaging correspondingly.

Table 14

Examples of Conduplicatio

Number


56 The wind is blowing harder now,

Blowing dust into my eyes. 5 & 6 1

186 so I guess I'll have to pay,

pay my way, 4 & 5 6

In data (56), the word blowing in line five is repeated in line six to specify that the

wind is actually blowing dust to the subject‟s eyes. Likewise, the word pay in data

(186) is repeated to denote that the subject should pay his way. Furthermore, all

data of conduplicatios found in the album can be seen in table A.3.9 in appendix

III.

10. Epizeuxis

The writer finds twelve data categorized as epizeuxis because of having

words repeated in direct and nonstop sequence. The ideal examples of this poetic

device are the following data taken from the song entitled Back in N.Y.C.

44

Table 15

Examples of Epizeuxis

Number

of Data Data

Line

(s) Stanza

198 I had to get it out of me, if you know what I mean, what I mean. 8 1

200 You say I must be crazy, 'cos I don't care who I hit, who I hit. 1 2

207 You can tell by the night fires where Rael has been, has been. 6 2

It is obvious that the words what I mean, who I hit and has been are repeated

immediately in data (198), (200) and (217) respectively. Moreover, all data of

epizeuxes found in the album can be seen in table A.3.10 in appendix III.

11. Personification

The writer finds ten data categorized as personification because of narrating

inanimate objects or abstractions which are represented to have human

characteristics or qualities. To give some examples, the following are two data

taken from the songs Fly on a Windshield and The Light Dies Down on Broadway

respectively.

Table 16

Examples of Personification

Number

of Data Data

Line

(s) Stanza

63 Echoes of the Broadway Everglades,

With her mythical madonnas still walking in their shades: 1 & 2 2

482 But as the skylight beckons him to leave, 1 2

In data (63), the word echoes, which are abstractions defined as mirrored sounds

that are heard again, are represented to have the human ability of walking. In the

45

same way, the word skylight in data (482), which is also an abstraction, is

symbolized to be able to beckon the object him to leave. Furthermore, all data of

personifications found in the album can be seen in table A.3.11 in appendix III.

12. Polysyndeton

Like personification, there are also ten data categorized as polysyndeton.

This type of poetic device occurs because of making use of many conjunctions

between clauses like in the below data taken from the song entitled In the Cage.

Thus, the data is elaborated as follows.

Table 17

Example of Polysyndeton

Number


117

And the childhood belief

Brings a moment's relief,

But my cynic soon returns And the lifeboat burns.

3 - 6 2

It is obvious that in the above data, there are three conjunctions employed which

are but and twice and. Furthermore, all data of polysyndetons found in the album

can be seen in table A.3.12 in appendix III.

13. Antithesis

Like personification and polysyndeton, the writer finds ten data grouped

into antithesis as well. For instance, the following data taken correspondingly

from the songs In the Cage and The Lamia are categorized as antithesis because of

46

having contrast words or ideas placed side by side in parallel structure. Thus the

data are elaborated as follows.

Table 18

Examples of Antithesis

Number


160

If I could change to liquid, I could fill the cracks up in the rock.

But I know that I am solid

And I am my own bad luck.

1 - 4 7

405 That glide up and down my spine. 5 5

Data (160) illustrates contrast ideas between being liquid in fantasy and being

solid in reality joined by conjunction but. The subject supposes that he could

change to liquid, but in reality, he is actually solid. Data (405), on the other hand,

demonstrates two contrasting words in meaning joined by conjunction and. The

word up can simply mean being or leading to higher position, while the word

down, in contrast, can merely denote being or leading to lower position.

Furthermore, all data of antitheses found in the album can be seen in table A.3.13

in appendix III.

14. Simile

Ten data are categorized as simile because of having direct comparison

between two things by utilizing the words like and as. This particular poetic

device can be exemplified by the two data respectively taken from the song

entitled The Grand Parade of Lifeless Packaging and The Arrival, first part of The

Colony of Slippermen, which are elaborated as follows.

47

Table 19

Examples of Simile

Number


178 The hall runs like clockwork 1 4

423 I wandered lonely as a cloud, 1 1

Both data contain comparisons by employing the word like and as respectively.

Particularly, in data (178), the subject the hall is personified to have the ability of

running compared to clockwork. Similarly, the subject‟s lonely wandering in data

(423), is compared to a cloud. Moreover, all data of similes found in the album

can be seen in table A.3.14 in appendix III.

15. Paradox

The writer finds eight data categorized as paradox. While antithesis happens

because of the juxtaposition of two contrasting words or ideas in parallel

structure, paradox happens because of having self contradiction. The following

data correspondingly taken from the songs The Grand Parade of Lifeless

Packaging and Back in N.Y.C are examples of paradox found in the album.

Table 20

Examples of Paradox

Number

of Data Data

Line

(s) Stanza

181 Empty in their fullness 3 4

194 'cos we're only as strong, as the weakest link in the chain. 6 1

Data (181) is considered to be paradoxical because it describes condition of being

empty but in fullness state. In the same way, data (194) illustrates the subject‟s

48

being strong which is paradoxically compared to the weakest connection in the

chain; therefore, the data is categorized as a paradox. Moreover, all data of

paradoxes found in the album can be seen in table A.3.15 in appendix III.

16. Epistrophe

Like paradox, the writer also finds eight data categorized as epistrophe.

Being different from anaphora, this particular poetic device happens because of

the repetition of word or words at the end of successive lines, phrases, clauses or

sentences. The perfect and obvious examples for this poetic device are the

following data taken from the song entitled In the Cage. Thus, the data are

illustrated as follows.

Table 21

Examples of Epistrophe

Number

of Data Data Line (s) Stanza

106 Turn fast-turn sour

Turn sweat-turn sour. 8 & 9 1

112 In the cave. Get me out of this cave!

14 & 15 1

125 Lips are dry, throat is dry. 3 3


8 & 9 3

157 In the pain

Get me out of this pain. 9 & 10 6

163 Turning around, spinning around.

3 & 4 8

Moreover, all data of epistrophes found in the album can be seen in table A.3.16

in appendix III.

49

17. Synecdoche

The writer finds four data which are categorized as synecdoche, covering

relatively one percent of the total data. Thus, the complete data of discovered

synecdoche are elaborated as follows.

Table 22

Data of Synecdoche

Number


23 The trucker's eyes read 'Overload' 6 3

42 Cabman's velvet glove sounds the horn 3 5

313 I'd rather trust a man who works with his hands, 5 3

385 A magnificent chamber meets his eye. 5 1

Data (23) and (42) are both taken from the first song entitled The Lamb Lies down

on Broadway. The former actually describes that it is the trucker who read

overload, but the statement represents the whole entity of the trucker by naming

one of his parts i.e. his eyes. Similarly, the latter actually illustrates that it is the

cabman himself who sounds the horn, but the line represents the entire individual

of the cabman by naming one of his parts i.e. his velvet gloves.

Data (318) and (385) are respectively taken from the songs Chamber of 32

Doors and The Lamia. The former expresses the man who definitely works with

all parts of his body by naming two parts of them i.e. his hands. Likewise, the

former actually describes that it is the subject as a whole who encounters the

magnificent chamber, but the statement only mentions two parts of his body i.e.

his eyes.

50

18. Metaphor

The writer finds three data grouped as metaphor, covering one percent of the

whole data more or less. Thus, the following data are three examples of metaphor

found in the album‟s song lyrics.

Table 23

Data of Metaphor

Number

of Data Data Line Stanza

97 I wonder if I'm a prisoner locked up in some Brooklyn jail

-or some sort of Jonah shut up inside the whale. 5 & 6 2

411 Each empty snakelike body floats,

Silent sorrow in empty boats. 1 & 2 7


The bitter harvest of a dying bloom. 3 & 4 7

The above data are categorized as metaphor because of having figurative

analogies analogizing certain concepts. Data (98), which is taken from the song

Cuckoo Cocoon, explains two analogies analogizing the subject‟s condition and

the place in which he encounters. Firstly, the subject feels that he is like a prisoner

in Brooklyn jail, and secondly, he thinks that he is like the Prophet Jonah

swallowed by a whale.

In data (411), which is taken from the song The Lamia, the words silent

sorrow in empty boats analogies the previous situation i.e. each empty snakelike

body floats. Likewise, in data (415), which is taken from the same song, the words

the bitter harvest of a dying bloom figuratively analogies the previous situation

i.e. a sickly sourness fills the room. Moreover, all data of metaphors found in the

album can be seen in appendix section.

51

19. Hyperbaton

Three data are categorized as hyperbaton because of having words whose

orders are inverted, and deviate normal arrangement. Thus, the overall data which

are taken from the song The Lamia are listed as follows.

Table 24

Data of Hyperbaton

Number


384 From familiar fragrance to flavours strange. 4 1

401 Putting fear beside him, he trusts in beauty blind, 1 5

418 'O Lamia, your flesh that remains I will take as my food' 7 7

The phrase flavours strange in data (384) is actually inverted arrangement of

strange flavours. In the same principle, the phrase beauty blind in data (401) is in

fact reversed order of blind beauty. Data (418), on the other hand, has word order

which deviates normal grammatical rule. Considering that the phrase your flesh

that remains is the object of the sentence, the correct grammatical arrangement of

the sentence should be ―O Lamia, I will take your flesh that remains as my food.‖

20. Consonance and Onomatopoeia

The writer merely finds two data categorized as consonance because of

having words which have similar consonant in the same place, but different

vowel. The writer also finds two data grouped as onomatopoeia due to containing

words whose sounds imitating the source of the sound they describe. Thus, the

data are elaborated as follows.

52

Table 25

Data of Consonance and Onomatopoeia

Number


403 'With their tongues, they test, taste and judge all that is mine.

/test/ /teɪst/ 3 5

537 it is Real. it is Rael

/ˈreɪl/ /rɪəl/ 6 4

425 Slubberdegullions on a squeaky feet, 4 1

448 I watch his countdown timer tick...... 2 5

Data (403) and (537) taken correspondingly from the songs The Lamia and first

part of The Colony of Slippermen are those grouped as consonance. The words

test and taste in the former have different vowel, but similar consonants in the

same positions i.e. /t/ and /s/. The words Real and Rael in the latter also have

different vowel, but similar consonants in the same positions i.e. /r/ and /l/.

On the other hand, data (425) and (448) respectively taken from the

second part of The Colony of Slippermen and It are those categorized as

onomatopoeia. The word squeaky in the former represents the sound of two

objects rubbing together, and the word tick in the latter symbolizes the sound of a

clock.

21. Apposition and Parenthesis

The writer finds two data categorized as apposition because of having two

elements placed next to each other; where the later element modifies or explains

the former. Thus, the data, which are respectively taken from the songs Counting

Out Time and the first part of The Colony of Slippermen are elaborated as follows.

53

Table 26

Data of Apposition

Number


247 Look! I've found the hotspots, Figs 1-9. 2 5

424 I've never seen a stranger crowd; Slubberdegullions on a squeaky feet,

3 & 4 1

In data (247), the phrase Figs 1-9 actually explains and defines the previous noun

hotspots. In the same way, the phrase Slubberdegullions on a squeaky feet in data

(424) specify the object stranger crowd.

The writer also finds two other data categorized as parenthesis because of

having insertions of word or words that interrupt standard syntactic pattern.

Hence, the data, which are correspondingly taken from the songs Fly on a

Windshield and Anyway, are elaborated as follows.

Table 27

Data of Parenthesis

Number

of Data Data Line

(s) Stanza

73 Groucho, with his movies trailing, stands alone with his punchline failing. 6 2

364 The rocks, in time, compress your blood to oil,

7 & 8 1

In data (73), the prepositional phrase with his movies trailing interrupts the

sentence‟s normal syntax because of being placed between the subject Groucho

and the verb stand. Similarly, the prepositional phrase in time in data (364)

interrupts the sentence‟s normal arrangement due to being inserted between the

subject the rocks and the verb compress.

54

22. Chiasmus and Antimetabole

The writer only finds one data categorized as chiasmus. It is from line four

of the first stanza in the song entitled The Lamia. The data is considered to be

chiasmus because of having repeated elements which form ABBA pattern. Thus,

the data is elaborated as follows.

Table 28

Data of Chiasmus

Number


370 From familiar fragrance to flavours strange. 4 1

The words fragrance and flavours in the above data relatively relate to the same

concept associated with senses. Similarly, the words familiar and strange also

have the same idea affiliated with stage of intimacy. The aforementioned words

are deliberately arranged like so in order to form chiastic ABBA pattern which is

detailed as follows.

From familiar fragrance

A B

To flavours strange

B A

Figure 5

Illustration of Chiasmus

Found in The Lamb Lies down on Broadway

Album

55

The writer also finds mere one data grouped as antimetabole. It is from line five

and six of the second stanza in the song entitled Anyway. The data is considered to

be antimetabole because of having words reservedly repeated in consecutive

clauses. Hence, the data is detailed as follows.

Table 29

Data of Antimetabole

Number

of Data Data

Line

(s) Stanza

374 Damn it all! does earth plug a hole in heaven, Or heaven plug a hole in the earth-'how wonderful to be so profound,

5 &

6 2

The above data obviously shows that the words earth and heaven in line five is

repeated reversely in line six.

23. Irony and Oxymoron

One data is categorized as irony because of containing contrast idea as a

mean of ridicule. Thus, the data, which is taken from the song Fly on a

Windshield is detailed as follows.

Table 30

Data of Irony

Number


76 Klu Klux Klan serve hot soul food 7 2

The subject Klu Klux Klan in the above data refers to organization in United States

which uses violence against black Americans; while the object hot soul food denotes

traditional cuisine of African Americans. Therefore, the sentence is considered to be an

56

irony because of illustrating anti-African-American society which serves traditional

African American food.

The writer also finds another one data grouped as oxymoron because of having

two contrasting constituents joined next to each other. Hence, the data, which is taken

from the song The Lamia is illustrated as follows.

Table 31

Data of Oxymoron

Number


396 Muted melodies fill the echoing hall, 5 4

The words muted and melodies in the above data are contradictory. The former

more refers to the condition without any sound; while the latter, on the other hand,

denotes the situation with full of musical tones.

24. Eye Rhyme, Rhetorical Question and Polyptoton

Each of these poetic devices is only found in one data as well. Hence, the

data of these found poetic devices, which are correspondingly taken from the

songs Fly on a Windshield, Back in N.Y.C and Carpet Crawlers, are elaborated as

follows.

Table 32

Data of Eye Rhyme, Rhetorical Question and Polyptoton

Number

of Data Poetic Device Data Line (s) Stanza

78 Eye Rhyme peach blossom and bitter almonde.

you can bottle all you made. 9 & 11 2

188 Rhetorical

Question So you think I'm a tough kid? Is that what you heard? 2 1

270 Polyptoton There is lambswool under my naked feet.

The wool is soft and warm, 1 & 2 1

57

Firstly, in data (78), almonde in line nine actually refers to almond with letter e

attached to the end of it. The word is written as such in order to rhyme

orthographically to the end word of line eleven. Thus, the data is categorized as

eye rhyme.

Secondly, the questions in data (188) do not require any answer, nor does

the asker want to gather information about what he asks. Instead, it is intended to

show or confirm whom he asks that he is actually a tough kid. Therefore, the data

is categorized as rhetorical question. Finally, in data (274), the word wool in line

two is actually refers to the word lambswool in the previous line. These two words

are in the same root; therefore, the data is categorized as polyptoton.

58

CHAPTER V

CONCLUSIONS AND SUGGESTIONS

A. Conclusions

This research is motivated by the writer‟s reaction after reading the entire

lyrics of The Lamb Lies down on Broadway album by Genesis. The writer

understands that the lyrics are like a group of poems because of the utilization of

poem-making technique. Afterwards, two research questions emerge in the

writer‟s mind questioning all kinds of poetic devices used in the album and the

one that is mostly utilized. These questions are tried to be answered via stylistic

analysis analyzing characteristics owned by constituents of the lyrics that match

criterion of particular poetic device.

After all the data are collected and categorized, each category (discovered

poetic devices) are quantified and presented in percentage. Finally, based on the

collected and categorized data and their quantification, the writer presents two

conclusions which are elaborated as follows.

1. There are thirty kinds of poetic devices that make Genesis‟ album

entitled The Lamb Lies down on Broadway poetic i.e. end rhyme,

asyndeton, alliteration, internal rhyme, ellipsis, parallelism, assonance,

anaphora, conduplicatio, epizeuxis, personification, polysyndeton,

antithesis, simile, metaphor, paradox, epistrophe, synecdoche

hyperbaton, parenthesis, consonance, onomatopoeia, apposition, irony,

59

eye rhyme, oxymoron, chiasmus, antimetabole, rhetorical question and

polyptoton.

2. End Rhyme is the poetic device which is the most frequently used in the

lyrics of The Lamb Lies down on Broadway album.

B. Suggestions

The followings are some suggestions addressed to readers in general and

specifically those who want to conduct relatively similar researches. Thus they are

elaborated as follows.

1. Thorough stylistic analysis can be conducted for this album because

there are other poetic devices in this album that are worth analyzing like

imageries, allusions etc.

2. This album can be stylistically analyzed based on other styles like

colloquialism, surrealism et cetera.

3. Remembering that The Lamb is a concept album, it can be analyzed

literarily based on fiction point of view.

4. Poetic devices surely can be found in other lyrics, so analysis done in

this research supposedly can be applied to them.

5. The more established notion or even theory about the relation between

poetic devices and song lyrics can be developed.

60

Synopsis

Dalam penelitian ini, penulis menganalisis lirik lagu dari album grup musik

Genesis yg berjudul The Lamb Lies down on Broadway dengan menggunakan

prinsip – prinsip analisis stilistika. Lirik – lirik dalam album ini dianggap puitis

karena penggunaan poetic device, dan poetic device inilah yang akan ditemukan

melalui penelitian ini. Selain itu, poetic device yang paling sering digunakan

dalam album ini juga akan dicari melalui proses penelitian ini.

Penulis menggunakan metode deskriptif dan kuantitatif dalam penelitian ini.

Metode deskriptif digunakan karena tidak adanya perlakuan pada data; penulis

hanya melaporkan hasil dari analisis stilistika. Sedangkan metode kuantitatif

digunakan atas dasar pendapat dari Nurgiyantoro (2005), yang mengatakan bahwa

analisis stilistika memerlukan metode kuantitatif untuk mengurangi kadar

subjektifitas. Dengan menggunakan dua metode penelitian tersebut, maka

penelitian ini adalah penelitian non experimental yang hanya mendeskripsikan

temuan – temuan.

Sementara dalam proses pengumpulan data, penulis menggunakan metode

agih dengan teknik dasarnya yang bernama Bagi Unsur Langsung (BUL)

(Sudaryanto, 1991). Metode Agih menganalisa data bahasa berdasarkan prinsip –

prinsip kebahasaan itu sendiri. Yang menjadi alat penentu dalam metode ini

adalah elemen – elemen kebahasaan yang sedang diteliti seperti fonem (vokal,

konsonan, diftong dll), kata (kata keterangan, kata depan, kata benda dll), fungsi

sintaksis (subjek, predikat, objek, keterangan, pelengkap dll), makna (makna

61

asosiatif, makna konotatif, makna denotative dll) dan lain – lain. Sedangkan

teknik BUL adalah teknik segementasi fenomena kebahasaan yang sedang diteliti

menjadi elemen – elemen linguistik dalam level linguistik tertentu. Contoh,

fenomena kebahasaan seperti back dapat disegmentasi dalam level fonologi

menjadi elemen – elemen berupa fonem /b/, /æ/ dan /k/. Penggunaan metode

agih dan teknik BUL ini bersifat intuitif, dengan anggapan bahwa peneliti

memiliki intuisi dan kompetensi bahasa yang sedang diteliti.

Hasil dari teknik BUL berdasarkan metode agih ini dikategorisasikan

menjadi poetic device tertentu berdasarkan karakteristiknya, dinomori dan

dinyatakan sebagai satu data. Sebagai ilustrasi, jika dalam satu lagu terdapat bait

seperti I think I would, but the translation‘s no good, maka bait tersebut dapat

dikategorikan sebagai internal rhyme karena memiliki kata – kata yang berima di

dalam satu bait (good /ɡud/ dan would /wud/). Selanjutnya bait tersebut

dinyatakan sebagai satu data dan dinomori sebagai data nomor (1).

Tiap – tiap poetic device dihitung dan disajikan dalam bentuk presentase

untuk menentukan poetic device manakah yang paling sering digunakan. Hasilnya

menunjukkan bahwa terdapat tiga puluh jenis poetic device yang meliputi lima

ratus tiga puluh tujuh data, dan poetic device yang paling sering digunakan adalah

end rhyme.

62

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67

APPENDICES

Appendix I

The lyrics of The Lamb Lies down on Broadway Album

1. The Lamb Lies Down on Broadway

Line Stanza

And the lamb lies down on Broadway. 1 1

Early morning Manhattan, 1

2

Ocean winds blow on the land. 2

The Movie-Palace is now undone, 3

The all-night watchmen have had their fun. 4

Sleeping cheaply on the midnight show, 5

It's the same old ending-time to go. 6

Get out! 7

It seems they cannot leave their dream. 8

There's something moving in the sidewalk steam, 9

And the lamb lies down on Broadway. 10

Nightime's flyers feel their pains. 1

3

Drugstore takes down the chains. 2

Metal motion comes in bursts, 3

But the gas station can quench that thirst. 4

Suspension cracked on unmade road 5

The trucker's eyes read 'Overload' 6

And out on the subway, 7

Rael Imperial Aerosol Kid 8

Exits into daylight, spraygun hid, 9


The lamb seems right out of place, 1

4

Yet the Broadway street scene finds a focus in its face. 2

Somehow it's lying there, 3

Brings a stillness to the air. 4

Though man-made light, at night is very bright, 5

There's no whitewash victim, 6

As the neons dim, to the coat of white. 7

Rael Imperial Aerosol Kid, 8

Wipes his gun-he's forgotten what he did, 9


Suzanne tired her work all done, 1

5

Thinks money-honey-be on-neon. 2

Cabman's velvet glove sounds the horn 3

And the sawdust king spits out his scorn. 4

Wonder women draw your blind! 5

Don't look at me! I'm not your kind. 6

I'm Rael! 7

Something inside me has just begun, 8

Lord knows what I have done, 9


On Broadway- 11

They say the lights are always bright on Broadway. 12

They say there's always magic in the air. 13

2. Fly on a Windshield

3. Cuckoo Cocoon

Line

Stanza

There's something solid forming in the air, 1

1

The wall of death is lowered in Times Square. 2

No-one seems to care, 3

They carry on as if nothing was there. 4

The wind is blowing harder now, 5

Blowing dust into my eyes. 6

The dust settles on my skin, 7

Making a crust I cannot move in 8

And I'm hovering like a fly, waiting for the windshield on the freeway. 9

Echoes of the Broadway Everglades, 1

2

With her mythical madonnas still walking in their shades: 2

Lenny Bruce, declares a truce and plays his other hand. 3

Marshall McLuhan, casual viewin', head buried in the sand. 4

Sirens on the rooftops wailing, but there's no ship sailing. 5

Groucho, with his movies trailing, stands alone with his punchline failing. 6

Klu Klux Klan serve hot soul food and the band plays 'In the Mood' 7

The cheerleader waves her cyanide wand, there's a smell of 8

peach blossom and bitter almonde. 9

Caryl Chessman sniffs the air and leads the parade, he know in a scent, 10

you can bottle all you made. 11

There's Howard Hughes in blue suede shoes, smiling at the majorettes 12

smoking Winston Cigarettes. 13

And as the song and dance begins, the children play at home 14

with needles; needles and pins. 15

Line

Stanza

Wrapped up in some powdered wool-I guess I'm losing touch. 1

1

Don't tell me I'm dying, 'cos I ain't changed that much. 2

The only sound is water drops, I wonder where the hell I am, 3

Some kind of jam? 4

Cuckoo Cocoon have I come to, too soon for you? 5

There's nothing I can recognise; this is nowhere that I've known. 1

2

With no sign of life at all, I guess that I'm alone, 2

And I feel so secure that I know this can't be real but I feel good. 3

Cuckoo cocoon have I come to, too soon for you? 4

I wonder if I'm a prisoner locked up in some Brooklyn jail 5

-or some sort of Jonah shut up inside the whale. 6

No-I'm still Rael and I'm stuck in some kind of cave, 7

what could've saved me? 8

Cuckoo cocoon have I come to, too soon for you? 9

4. In The Cage

Line Stanza

I've got sunshine in my stomach 1

1

Like I just rocked my baby to sleep. 2

I've got sunshine in my stomach 3

And I can't keep me from creeping sleep, 4

Sleep, deep in the deep. 5

Rockface moves to press my skin 6

White liquids turn sour within 7

Turn fast-turn sour 8

Turn sweat-turn sour. 9

Must tell myself that I'm not here. 10

I'm drowning in a liquid fear. 11

Bottled in a strong compression, 12

My distortion shows obsession 13

In the cave. 14

Get me out of this cave! 15

If I keep my self-control, 1

2

I'll be safe in my soul. 2

And the childhood belief 3

Brings a moment's relief, 4

But my cynic soon returns 5

And the lifeboat burns. 6

My spirit just never learns. 7

Stalactites, stalagmites 1

3

Shut me in, lock me tight. 2

Lips are dry, throat is dry. 3

Feel like burning, stomach churning, 4

I'm dressed up in a white costume 5

Padding out leftover room. 6

Body stretching, feel the wretching 7

In the cage 8

Get me out of this cage! 9

In the glare of a light, 1

4

I see a strange kind of sight; 2

Of cages joined to form a star 3

Each person can't go very far; 4

All tied to their things 5

They are netted by their strings, 6

Free to flutter in memories of their wasted wings. 7

Outside the cage I see my Brother John, 1

5

He turns his head so slowly round. 2

I cry out help! before he can be gone, 3

And he looks at me without a sound. 4

And I shout 'John please help me!' 5

But he does not even want to try to speak. 6

I'm helpless in my violent rage 7

And a silent tear of blood dribbles down his cheek, 8

And I watch him turn away and leave the cage. 9

My little runaway. 10

In a trap, feel a strap 1

6

Holding still. Pinned for kill. 2

Chances narrow that I'll make it, 3

In the cushioned straight-jacket. 4

Just like 22nd Street, 5

When they got me by my neck and feet. 6

Pressures building, can't take any more. 7

My headaches charge. My earaches roar. 8

In the pain 9

Get me out of this pain. 10

If I could change to liquid, 1

7

I could fill the cracks up in the rock. 2

But I know that I am solid 3

And I am my own bad luck. 4

But outside John disappears and my cage dissolves, 5

and without any reason my body revolves. 6

Keep on turning, 1

8 Keep on turning, 2

Turning around, 3

spinning around. 4

5. The Grand Parade of Lifeless Packaging

Line Stanza

'The last great adventure left to mankind' 1

1

-Screams a drooping lady 2

offering her dreamdolls at less than extortionate prices, 3

and as the notes and coins are taken out 4

I'm taken in, to the factory floor. 5

For the Grand Parade of Lifeless Packaging 6

-All ready to use 7

the Grand Parade of Lifeless Packaging 8

-just need a fuse. 9

Got people stocked in every shade, 1

2

Must be doing well with trade. 2

Stamped, addressed, in odd fatality. 3

That evens out their personality. 4

With profit potential marked by a sign, 5

I can recognise some of the production line, 6

No bite at all in labour bondage, 7

Just wrinkled wrappers or human bandage. 8

The Grand Parade of Lifeless Packaging 1

3 -All ready to use 2

It's the Grand Parade of Lifeless Packaging 3


The hall runs like clockwork 1

4

Their hands mark out the time, 2

Empty in their fullness 3

Like a frozen pantomime. 4

Everyone's a sales representative 5

Wearing slogans in their shrine. 6

Dishing out failsafe superlative, 7

Brothere John is No. 9. 8

For the Grand Parade of Lifeless Packaging 1

5 -All ready to use 2

It's the Grand Parade of Lifeless Packaging 3


The decor on the ceiling 1

6

has planned out their future day 2

I see no sign of free will, 3

so I guess I'll have to pay, 4

pay my way, 5

for the Grand Parade. 6

for the Grand Parade of Lifeless Packaging 7

-All ready to use 8

the Grand Parade of Lifeless Packaging 9


6. Back in NYC

Line Stanza

I see faces and traces of home back in New York City- 1

1

So you think I'm a tough kid? Is that what you heard? 2

Well I like to see some action and it gets into my blood. 3

The call me the trail blazer-Rael-electric razor. 4

I'm the pitcher in the chain gang, we don't believe in pain 5

'cos we're only as strong, as the weakest link in the chain. 6

Let me out of Pontiac when I was just seventeen, 7

I had to get it out of me, if you know what I mean, what I mean. 8

You say I must be crazy, 'cos I don't care who I hit, who I hit. 1

2

But I know it's me that's hitting out and I'm not full of shit. 2

I don't care who I hurt, I don't care who I do wrong. 3

This is your mess I'm stuck in, I really don't belong. 4

When I take out my bottle, filled up high with gasoline, 5

You can tell by the night fires where Rael has been, has been. 6

As I cuddled the porcupine 1

3

He said I had none to blame, but me. 2

Held my heart, deep in hair, 3

Time to shave, shave it off, it off. 4

No time for romantic escape, 5

When your fluffy heart is ready for rape. No! 6

Off we go. 7

You're sitting in your comfort you don't believe I'm real, 1

4

You cannot buy protection from the way that I feel. 2

Your progressive hypocrites hand out their trash, 3

But it was mine in the first place, so I'll burn it to ash. 4

And I've tasted all the strongest meats, 5

And laid them down in coloured sheets. 6

Who needs illusion of love and affection 7

When you're out walking the streets with your mainline connection? connection. 8

5

As I cuddle the porcupine 1

He said I had none to blame, but me. 2

Held my heart, deep in hair. 3

Time to shave, shave it off, it off. 4

No time for romantic escape, 5

When your fluffy heart is ready for rape. No! 6

7. Counting Out Time

Line Stanza

I'm counting out time, 1

1

Got the whole thing down by numbers. 2

All those numbers! 3

Give my guidance! 4

O Lord I need that now. 5

The day of judgement's come, 1

2

And you can bet that I've been resting, 2

for this testing, 3

Digesting every word the experts say. 4

Erogenous zones I love you. 5

Without you, what would a poor boy do? 6

Found a girl I wanted to date, 1

3

Thought I'd better get it straight. 2

Went to buy a book before it's too late. 3

Don't leave nothing to fate. 4

And I have studied every line, every page in the book, 5

And now I've got the real thing here, I'm gonna take a look, take a look. 6

This is Rael! 1 4

I'm counting out time, hoping it goes like I planned it, 1

5

'cos I understand it. Look! I've found the hotspots, Figs 1-9. 2

-still counting out time, got my finger on the button, 3

'Don't say nuttin-just lie there still 4

And I'll get you turned on just fine.' 5

Erongenous zones I love you. 6


Touch and go with 1-6. 1

6

Bit of trouble in zone No. 7. 2

Gotta remember all of my tricks. 3

There's heaven ahead in No. 11! 4

Getting crucial responses with dialation of the pupils. 5

'Honey get hip! It's time to unzip, to unzip. Whipee!' 6

-Move over Casanova- 7

I'm counting out time, reaction none to happy, 1

7

Please don't slap me, 2

I'm a red blooded male and the book said I could not fail. 3

I'm counting out time, I got unexpected distress from my mistress, 4

I'll get my money back from the bookstore right away. 5

Erongenous zones I question you- 6


Without you, mankind handkinds thru' the blues. 8

8. The Carpet Crawlers

There is lambswool under my naked feet. Line Stanza

The wool is soft and warm, 1

1

-gives off some kind of heat. 2

A salamander scurries into flame to be destroyed. 3

Imaginary creatures are trapped in birth on celluloid. 4

The fleas cling to the golden fleece, 5

Hoping they'll find peace. 6

Each thought and gesture are caught in celluloid. 7

There's no hiding in my memory. 8

There's no room to void. 9

The crawlers cover the floor in the red ochre corridor. 1

2

For my second sight of people, they've more lifeblood than before. 2

They're moving. They're moving in time to a heavy wooden door, 3

Where the needle's eye is winking, closing in on the poor. 4

The carpet crawlers heed their callers: 5

'We've got to get in to get out 6

We've got to get in to get out.' 7

There's only one direction in the faces that I see; 1

3

It's upward to the ceiling, where the chambers said to be. 2

Like the forest fight for sunlight, that takes root in every tree. 3

They are pulled up by the magnet, believing that they're free. 4




Mild mannered supermen are held in kryptonite, 1

4

And the wise and foolish virgins giggle with their bodies glowing bright. 2

Through a door a harvest feast is lit by candlight; 3

It's the bottom of a staircase that spirals out of sight. 4




The porcelain manikin with shattered skin fears attack. 1

5

The eager pack lift up their pitchers- the carry all they lack. 2

The liquid has congealed, which has seeped out through the crack, 3

And the tickler takes his stickleback. 4




9. Chamber of 32 Doors

Line Stanza

At the top of the stairs, there's hundreds of people, 1

1

running around to all the doors. 2

They try to find themselves an audience; 3

their deductions need applause. 4

The rich man stands in front of me, 5

The poor man behind my back. 6

They believe they can control the game, 7

but the juggler holds another pack. 8

I need someone to believe in, someone to trust. 1 2

I need someone to believe in, someone to trust. 2

I'd rather trust a countryman than a townman, 1

3

You can judge by his eyes, take a look if you can, 2

He'll smile through his guard, 3

Survival trains hard. 4

I'd rather trust a man who works with his hands, 5

He looks at you once, you know he understands, 6

Don't need any shield, 7

When you're out in the field. 8

But down here, 1

4

I'm so alone with my fear, 2

With everything that I hear. 3

And every single door, that I've walked through 4

Brings me back here again, 5

I've got to find my own way. 6

The priest and the magician, 1

5 Singing all the chants that they have ever heard; 2

They're all calling out my name, 3

Even academics, searching printed word. 4

My father to the left of me, 1

6 My mother to the right, 2

Like everyone else they'er pointing 3

But nowhere feels quite right. 4

And I need someone to believe in, someone to trust. 1 7

I need someone to believe in, someone to trust. 2

I'd rather trust a man who doesn't shout what he's found, 1

8 There's no need to sell if you're homeward bound. 2

If I chose a side, 3

He won't take me for a ride. 4

Back inside 1

9

This chamber of so many doors; 2

I've nowhere to hide. 3

I'd give you all of my dreams, if you'd help me, 4

Find a door 5

That doesn't lead me back again 6

-take me away. 7

10. Lilywhite Lilith

Line Stanza

The chamber was in confusion-all the voices shouting loud. 1

1

I could only just hear, a voice quite near say, 'Please help me 2

through the crowd' 3

'Said if I helped her thru' she could help me too, but I could 4

see that she was wholly blind. 5

But from her pale face and her pale skin, a moonlight shined. 6

Lilywhite Lilith, 1

2 She gonna take you thru' the tunnel of night. 2

Lilywhite Lilith, 3

She gonna lead you right. 4

When I'd led her through the people, the angry noise began to grow. 1

3

She said 'Let me feel the way the breezes blow, and I'll show 2

you where to go.' 3

So I followed her into a big round cave, she said 'They're coming 4

for you, now don't be afraid.' 5

Then she sat me down on a cold stone throne, carved in jade. 6

Lilywhite Lilith, 1

4 She gonna take you thru' the tunnel of night. 2

Lilywhite Lilith, 3

She gonna lead you right. 4

She leaves me in my darkness, 1

5

I have to face my fear, 2

And the darkness closes in on me, 3

I can hear a whirring sound growling near. 4

I can see the corner of the tunnel, 5

Lit up by whatever's coming here. 6

Two golden globes float into the room 7

And a blaze of white light fills the air. 8

11. Anyway

Line Stanza

All the pumping's nearly over for my sweet heart, 1

1

This is the one for me, 2

Time to meet the chef, 3

O boy! running man is out of death. 4

Feel cold and old, it's getting hard to catch my breath. 5

's back to ash, now, you've had your flash boy 6

The rocks, in time, compress 7

your blood to oil, 8

your flesh to coal, 9

enrich the soil, 10

not everybody's goal. 11

Anyway, they say she comes on a pale horse, 1

2

But I'm sure I hear a train. 2

O boy! I don't even feel no pain- 3

I guess I must be driving myself insane. 4

Damn it all! does earth plug a hole in heaven, 5

Or heaven plug a hole in the earth-'how wonderful to be so profound, 6

when everything you are is dying underground.' 7

I feel the pull on the rope, let me off at the rainbow. 1

3

I could have been exploding in space 2

Different orbits for my bones 3

Not me, just quietly buried in stones, 4

Keep the deadline open with my maker! 5

See me stretch; for God's elastic acre 6

The doorbell rings and it's 7

'Good morning Rael 8

So sorry you had to wait. 9

It won't be long, yeh! 10

She's very rarely late.' 11

12. The Lamia

Line Stanza

The scent grows richer, he knows he must be near, 1

1

He finds a long passageway lit by chandelier. 2

Each step he takes, the perfumes change 3

From familiar fragrance to flavours strange. 4

A magnificent chamber meets his eye. 5

Inside, a long rose-water pool is shrouded by fine mist. 1 2

Stepping in the moist silence, with a warm breeze he's gently kissed. 2

Thinking he is quite alone, 1

3 He enters the room, as if it were his own, 2

But ripples on the sweet pink water 3

Reveal some company unthought of- 4

Rael stands astonished doubting his sight, 1

4

Struck by beauty, gripped in fright; 2

Three vermilion snakes of female face, 3

The smallest motion, filled with grace. 4

Muted melodies fill the echoing hall, 5

But there is no sign of warning in the siren's call: 6

'Rael welcome, we are the Lamia of the pool. 7

We have been waiting for our waters to bring you cool.' 8

Putting fear beside him, he trusts in beauty blind, 1

5

He slips into the nectar, leaving his shredded clothes behind. 2

'With their tongues, they test, taste and judge all that is mine. 3

They move in a series of caresses 4

That glide up and down my spine. 5

As they nibble the fruit of my flesh, I feel no pain, 1

6

Only a magic that a name would stain. 2

With the first drop of my blood in their veins 3

Their faces are convulsed in mortal pains. 4

The fairest cries, 'We all have loved you Rael'.' 5

Each empty snakelike body floats, 1

7

Silent sorrow in empty boats. 2

A sickly sourness fills the room, 3

The bitter harvest of a dying bloom. 4

Looking for motion I know I will not find, 5

I stroke the curls now turning pale, in which I'd lain entwined 6

'O Lamia, your flesh that remains I will take as my food' 7

It is the scent of garlic that lingers on my chocolate fingers. 8

Looking behind me, the water turns icy blue, 1 8

The lights are dimmed and once again the stage is set for you. 2

13. The Colony Of Slippermen

a. The Arrival

Line Stanza

Rael:

I wandered lonely as a cloud, 1

1 Till I came upon this dirty street. 2

I've never seen a stranger crowd; 3

Slubberdegullions on a squeaky feet, 4

Continually pacing, 1

2 With nonchalant embracing, 2

Each orifice disgracing 3

And one facing me moves to say 'hellay'. 4

His skin's all covered in slimy lumps. 1

3

With lips that slide across each chin. 2

His twisted limbs like rubber stamps 3

Are waved in welcome say 'Please join in.' 4

My grip must be flipping, 5

Cos his handshake keeps slipping, 6

My hopes keep on dipping 7

And his lips keep on smiling all the time. 8

Slipperman:

'We like you, have tasted love. 1

4 Don't be alarmed at what you see, 2

You yourself are just the same 3

As what you see in me.' 4

Rael:

5

Me, like you? like that! 1

Slipperman:

'You better watch it son, your sentence has only just begun 1 6

You better run and join your brother John.' 2

b. A Visit to the Doktor

Slipperman: Line Stanza

'You're in the colony of slippermen. 1 1

There's no who? why? what? or when? 2

You get out if you've got the gripe 1

2 To see, Doktor Dyper, reformed sniper- 2

he'll whip off your windscreenwiper 3

Rael:

John and I are able 1 3

To face the Doktor and his marble table. 2

The Doktor:

Understand Rael, it's the end of your tail. 1 4

Rael:

'Don't delay, dock the dick!' 1 5

I watch his countdown timer tick...... 2

c. The Raven

Line Stanza

He places the number into a tube, 1

1

A yellow plastic 'shoobedoobe'. 2

It says: 'Though your fingers may tickle 3

You'll be safe in our pickle.' 4

Suddenly, black cloud comes down from the sky. 5

It's a supersize black bird that sure can fly. 6

The raven brings on darkness and night 1

2 He flies right down, gives me one hell of a fright. 2

He takes the tube right out of my hands 3

Man, I've got to find out where that black bird lands. 4

'Look here John, I've got to run 1

3 I need you now, you going to come?' 2

He says to me. 3

John:

'Now can't you see 1 4

Where the raven flies there's jeopardy. 2

We've been cured on the couch 1

5 Now you're sick with your grouch. 2

I'll not risk my honey pouch 3

Which my slouch will wear slung very low.' 4

Rael:

He walks away and leaves me once again. 1

6 Even though I never learn, 2

I'd hoped he'd show just some concern. 3

I'm in agony of Slipperpain 1

7

I pray my undercarriage will sustain. 2

The chase is on, the pace is hot 3

But I'm running so very hard with everything I've got. 4

He leads me down an underpass 5

Though it narrows, he still flies very fast, 6

When the tunnel stops 7

I catch sight of the tube, just as it drops. 8

I'm on top of a bank, to steep to climb, 9

I see it hit the water, just in time, 10

to watch it float away. 12

14. The Light Dies Down on Broadway

Line Stanza

As he walks along the gorge's edge, 1

1

He meets a sense of yesteryear. 2

A window in the bank above his head 3

Reveals his home amidst the streets. 4

Subway sounds, the sounds of complaint 5

The smell of acid on his gun of paint. 6

As it carves out anger in a blood-red band, 7

Destroyed tomorrow by an unknown hand; 8

-My home. 9

Is this the way out from this endless scene? 10

Or just an entrance to another dream? 11

And the light dies down on Broadway. 12

But as the skylight beckons him to leave, 1

2 He hears a scream from far below. 2

Within the raging water, writhes the form 3

Of brother John, he cries for help. 4

The gate is fading now, but open wide, 1

3

But John is drowning, I must decide 2

Between the freedom I had in the rat-race, 3

Or to stay forever in this forsaken place; 4

Hey John! 5

He makes for the river and the gate is gone, 6

Back to the void where it came from. 7

And the light dies down on Broadway. 8

15. Riding The Scree

Line Stanza

Struggling down the slope, 1

1 There's not much hope. 2

I begin to try to ride the scree 3

but the rocks are tumbling all around me. 4

If I want John alive, 1

2 I've got to ditch my fear - take a dive 2

While I've still got my drive to survive. 3

Evel Knievel you got nothing on me. 1 3

Here I go! 2

16. In The Rapids

Line Stanza

Moving down the water 1

1

John is drifting out of sight, 2

It's only at the turning point 3

That you find out how to fight. 4

In the cold, feel the cold 5

all around 6

And the rush of crashing water 7

Surround me with its sound. 8

Striking out to reach you, 1

2 I can't get through to the other side. 2

When you're racing in the rapids 3

There's only one way, that's to ride. 4

Taken down, taken down 1

3 by the undertow 2

And I'm spiralled down the river bed, 3

My fire is burning low. 4

Catching hold of a rock that's firm, 1

4 I'm waiting for John to be carried past. 2

We hold together and shoot the rapids fast. 3

And when the waters slow down 1

5

The dark and the deep 2

have no-one left to keep. 3

Hang on John! We're out of this at last. 4

Something's changed, that's not your face. 5

It's mine! 6

17. It

Lines Stanza

When it's cold, it comes slow. 1

1

it is warm, just watch it grow. 2

-all around me. 3

it is here. it is now. 4

Just a little bit of it can bring you up or down. 5

Like the supper it is cooking in your hometown. 6

it is chicken, it is eggs, 7

it is in between your legs. 8

it is walking on the moon, 9

leaving your cocoon. 10

it is the jigsa. it is purple haze. 1

2

it never stays in one place, but it's not a passing phase, 2

it is in the single's bar, in the distance of the face, 3

it is in between the cages, it is always in a space 4

it is here. it is now. 5

Any rock can be made to roll, 1

3

If you've enough of it to pay the toll. 2

it has no home in words or goal, 3

Not even in your favourite hole. 4

it is the hope for the dope. 5

When you ride the horse without a hoof. 6

it is shaken, not stirred; 7

Cocktails on the roof. 8

When you eat right fruit you see everything alive, 1

4

it is inside spirit, with enough grit to survive 2

If you think it's pretentious, you've been taken for a ride. 3

Look across the mirror, before you chose de cide 4

it is here. it is now 5

it is Real. it is Rael 6

'cos it's only knock and knowall, but I like it. 1 5

Appendix II

Complete Data of the Research

No. Poetic Device Data Line

(s) Stanza

Song

No.

1 Alliteration And the lamb lies down on Broadway. 1 1 1

2 End Rhyme Early morning Manhattan,

Ocean winds blow on the land. 1 & 2 2 1

3 Alliteration Early morning Manhattan 1 2 1

4 End Rhyme The Movie-Palace is now undone,

The all-night watchmen have had their fun. 3 & 4 2 1

5 Asyndeton The Movie-Palace is now undone,


6 End Rhyme Sleeping cheaply on the midnight show,

It's the same old ending-time to go. 5 & 6 2 1

7 Assonance Sleeping cheaply on the midnight show, 5 2 1

8 Internal Rhyme Sleeping cheaply on the midnight show, 5 2 1

9 Asyndeton Sleeping cheaply on the midnight show,


10 End Rhyme It seems they cannot leave their dream.

There's something moving in the sidewalk steam, 8 & 9 2 1

11 Assonance It seems they cannot leave their dream 8 2 1

12 Internal Rhyme There's something moving in the sidewalk steam, 9 2 1

13 Alliteration There's something moving in the sidewalk steam, 9 2 1


15 End Rhyme Nightime's flyers feel their pains.

Drugstore takes down the chains. 1 & 2 3 1

16 Alliteration Nightime's flyers feel their pains. 1 3 1

17 Personification Drugstore takes down the chains. 2 3 1

18 End Rhyme Metal motion comes in bursts,

But the gas station can quench that thirst. 3 & 4 3 1

19 Alliteration Metal motion comes in bursts 3 3 1

20 Alliteration But the gas station can quench that thirst. 4 3 1

21 End Rhyme Suspension cracked on unmade road

The trucker's eyes read 'Overload' 5 & 6 3 1

22 Personification The trucker's eyes read 'Overload' 6 3 1

23 Synecdoche The trucker's eyes read 'Overload' 6 3 1

24 Polysyndeton

And out on the subway,

Rael Imperial Aerosol Kid

Exits into daylight, spraygun hid,

And the lamb lies down on Broadway.

7 - 10 3 1

25 End Rhyme Rael Imperial Aerosol Kid

Exits into daylight, spraygun hid 8 & 9 3 1


27 End Rhyme The lamb seems right out of place,

Yet the Broadway street scene finds a focus in its face 1 & 2 4 1

28 Alliteration Yet the Broadway street scene finds a focus in its face 2 4 1

29 Assonance Yet the Broadway street scene finds a focus in its face 2 4 1

30 Alliteration Yet the Broadway street scene finds a focus in its face 2 4 1

31 Personification Yet the Broadway street scene finds a focus in its face. 2 4 1

32 End Rhyme Somehow it's lying there,

Brings a stillness to the air. 3 & 4 4 1

33 End Rhyme Though man-made light, at night is very bright,

As the neons dim, to the coat of white. 5 & 7 4 1

34 Alliteration Though man-made light, at night is very bright 5 4 1

35 Internal Rhyme Though man-made light, at night is very bright, 5 4 1

36 End Rhyme

There's no whitewash victim,

Rael Imperial Aerosol Kid,

Wipes his gun-he's forgotten what he did,

6, 8, 9 4 1

37 Asyndeton Rael Imperial Aerosol Kid,

Wipes his gun-he's forgotten what he did, 8 & 9 4 1


39 Internal Rhyme Thinks money-honey-be on-neon. 2 5 1

40 Internal Rhyme Thinks money-honey-be on-neon. 2 5 1

41 Personification Cabman's velvet glove sounds the horn 3 5 1

42 Synecdoche Cabman's velvet glove sounds the horn 3 5 1

43 End Rhyme Wonder women draw your blind!

Don't look at me! I'm not your kind. 5 & 6 5 1

44 Alliteration Wonder women draw your blind! 5 5 1

45 End Rhyme Something inside me has just begun,

Lord knows what I have done, 8 & 9 5 1

46 Asyndeton Something inside me has just begun,



48 Internal Rhyme They say the lights are always bright on Broadway. 12 5 1

49 Internal Rhyme They say there's always magic in the air. 13 5 1

50 End Rhyme

There's something solid forming in the air,

The wall of death is lowered in Times Square.

No-one seems to care,

They carry on as if nothing was there.

1 - 4 1 2

51 Alliteration There's something solid forming in the air, 1 1 2

52 Internal Rhyme There's something solid forming in the air, 1 1 2

53 Internal Rhyme There's something solid forming in the air, 1 1 2

54 Asyndeton There's something solid forming in the air,

The wall of death is lowered in Times Square. 1 & 2 1 2

55 Asyndeton No-one seems to care,

They carry on as if nothing was there. 3 & 4 1 2

56 Conduplicatio The wind is blowing harder now,

Blowing dust into my eyes. 5 & 6 1 2

57 Conduplicatio Blowing dust into my eyes.

The dust settles on my skin, 6 & 7 1 2

58 End Rhyme The dust settles on my skin,

Making a crust I cannot move in 7 & 8 1 2

59 Alliteration And I'm hovering like a fly, waiting for the windshield on the freeway. 9 1 2

60 Simile And I'm hovering like a fly, waiting for the windshield on the freeway. 9 1 2

61 End Rhyme Echoes of the Broadway Everglades,

With her mythical madonnas still walking in their shades: 1 & 2 2 2

62 Alliteration With her mythical madonnas still walking in their shades: 2 2 2

63 Personification Echoes of the Broadway Everglades,


64 End Rhyme Lenny Bruce, declares a truce and plays his other hand.

Marshall McLuhan, casual viewin', head buried in the sand. 3 & 4 2 2

65 Internal Rhyme Lenny Bruce, declares a truce and plays his other hand. 3 2 2

66 Parallelism Lenny Bruce, declares a truce and plays his other hand. 3 2 2

67 Alliteration Marshall McLuhan, casual viewin', head buried in the sand. 4 2 2

68 Internal Rhyme Marshall McLuhan, casual viewin', head buried in the sand. 4 2 2

69 End Rhyme Sirens on the rooftops wailing, but there's no ship sailing.

Groucho, with his movies trailing, stands alone with his punchline failing. 5 & 6 2 2

70 Internal Rhyme Sirens on the rooftops wailing, but there's no ship sailing. 5 2 2

71 Antithesis Sirens on the rooftops wailing, but there's no ship sailing. 5 2 2

72 Internal Rhyme Groucho, with his movies trailing, stands alone with his punchline failing. 6 2 2

73 Parenthesis Groucho, with his movies trailing, stands alone with his punchline failing. 6 2 2

74 Alliteration Klu Klux Klan serve hot soul food and the band plays 'In the Mood' 7 2 2

75 Internal Rhyme Klu Klux Klan serve hot soul food and the band plays 'In the Mood' 7 2 2

76 Irony Klu Klux Klan serve hot soul food 7 2 2

77 Asyndeton The cheerleader waves her cyanide wand, there's a smell of

peach blossom and bitter almonde. 8 & 9 2 2


you can bottle all you made. 9 & 11 2 2

79 Parallelism Caryl Chessman sniffs the air and leads the parade 10 2 2

80 Asyndeton Caryl Chessman sniffs the air and leads the parade, he know in a scent,

you can bottle all you made. 10 & 11 2 2

81 End Rhyme There's Howard Hughes in blue suede shoes, smiling at the majorettes

smoking Winston Cigarettes.

12 &

13 2 2

82 Parallelism There's Howard Hughes in blue suede shoes, smiling at the majorettes

smoking Winston Cigarettes. 12 & 13 2 2

83 Internal Rhyme There's Howard Hughes in blue suede shoes, smiling at the majorettes 12 2 2

84 Assonance There's Howard Hughes in blue suede shoes, smiling at the majorettes 12 2 2

85 Epizeuxis with needles; needles and pins. 15 2 2

86 End Rhyme Wrapped up in some powdered wool-I guess I'm losing touch.

Don't tell me I'm dying, 'cos I ain't changed that much. 1 & 2 1 3

87 Assonance Don't tell me I'm dying, 'cos I ain't changed that much. 2 1 3

88 End Rhyme The only sound is water drops, I wonder where the hell I am,

Some kind of jam? 3 & 4 1 3

89 Asyndeton The only sound is water drops, I wonder where the hell I am,


90 Alliteration The only sound is water drops, I wonder where the hell I am, 3 1 3

91 Alliteration Cuckoo Cocoon have I come to, too soon for you? 5 1 3

92 Assonance Cuckoo Cocoon have I come to, too soon for you? 5 1 3

93 End Rhyme There's nothing I can recognise; this is nowhere that I've known.

With no sign of life at all, I guess that I'm alone, 1 & 2 2 3



96 End Rhyme I wonder if I'm a prisoner locked up in some Brooklyn jail

-or some sort of Jonah shut up inside the whale. 5 & 6 2 3

97 Metaphor I wonder if I'm a prisoner locked up in some Brooklyn jail




100 Simile I've got sunshine in my stomach

Like I just rocked my baby to sleep. 1 & 2 1 4

101 Assonance And I can't keep me from creeping sleep, 4 1 4

102 Assonance Sleep, deep in the deep. 5 1 4

103 Conduplicatio And I can't keep me from creeping sleep,

Sleep, deep in the deep. 4 & 5 1 4

104 End Rhyme Rockface moves to press my skin

White liquids turn sour within 6 & 7 1 4

105 Anaphora Turn fast-turn sour

Turn sweat-turn sour. 8 & 9 1 4

106 Epistrophe Turn fast-turn sour


107 End Rhyme Must tell myself that I'm not here.

I'm drowning in a liquid fear. 10 & 11 1 4

108 Alliteration Must tell myself that I'm not here. 10 1 4

109 Ellipsis Must tell myself that I'm not here. 10 1 4

110 End Rhyme Bottled in a strong compression,

My distortion shows obsession 12 & 13 1 4

111 Personification My distortion shows obsession 13 1 4

112 Epistrophe In the cave.

Get me out of this cave! 14 & 15 1 4

113 End Rhyme If I keep my self-control,

I'll be safe in my soul. 1 & 2 2 4

114 End Rhyme And the childhood belief

Brings a moment's relief, 3 & 4 2 4

115 End Rhyme

But my cynic soon returns

And the lifeboat burns.

My spirit just never learns.

5 - 7 2 4

116 Antithesis





3 - 6 2 4

117 Polysyndeton





3 - 6 2 4

118 Alliteration Stalactites, stalagmites 1 3 4

119 Internal Rhyme Stalactites, stalagmites 1 3 4

120 Asyndeton Stalactites, stalagmites 1 3 4

121 Parallelism Stalactites, stalagmites 1 3 4

122 Asyndeton Shut me in, lock me tight. 2 3 4

123 Parallelism Shut me in, lock me tight. 2 3 4

124 Asyndeton Lips are dry, throat is dry. 3 3 4

125 Epistrophe Lips are dry, throat is dry. 3 3 4

126 Internal Rhyme Feel like burning, stomach churning, 4 3 4

127 Asyndeton Feel like burning, stomach churning, 4 3 4

128 Ellipsis Feel like burning 4 3 4

129 Ellipsis stomach churning, 4 3 4

130 Asyndeton

Feel like burning, stomach churning,

I'm dressed up in a white costume

Padding out leftover room.

4 - 6 3 4

131 End Rhyme I'm dressed up in a white costume

Padding out leftover room. 5 & 6 3 4

132 Internal Rhyme Body stretching, feel the wretching 7 3 4

133 Asyndeton Body stretching, feel the wretching 7 3 4

134 Epistrophe In the cave.

Get me out of this cave! 8 & 9 3 4

135 End Rhyme In the glare of a light,

I see a strange kind of sight; 1 & 2 4 4

136 End Rhyme Of cages joined to form a star

Each person can't go very far; 3 & 4 4 4

137 End Rhyme

All tied to their things

They are netted by their strings,

Free to flutter in memories of their wasted wings.

5 - 7 4 4

138 Asyndeton Outside the cage I see my Brother John,

He turns his head so slowly round. 1 & 2 5 4

139 End Rhyme Outside the cage I see my Brother John,

I cry out help! before he can be gone, 1 & 3 5 4

140 End Rhyme He turns his head so slowly round.

And he looks at me without a sound. 2 & 4 5 4

141 Anaphora And he looks at me without a sound.

And I shout 'John please help me!' 4 & 5 5 4

142 End Rhyme But he does not even want to try to speak.

And a silent tear of blood dribbles down his cheek, 6 & 8 5 4

143 End Rhyme I'm helpless in my violent rage

And I watch him turn away and leave the cage. 7 & 9 5 4

144 Anaphora And a silent tear of blood dribbles down his cheek,


145 Polysyndeton And a silent tear of blood dribbles down his cheek,


146 Internal Rhyme In a trap, feel a strap 1 6 4

147 Ellipsis In a trap, feel a strap 1 6 4

148 End Rhyme Holding still. Pinned for kill.

Chances narrow that I'll make it, 2 & 3 6 4

149 Internal Rhyme Holding still. Pinned for kill. 2 6 4

150 Ellipsis Chances narrow that I'll make it, 3 6 4

151 End Rhyme Just like 22nd Street,

When they got me by my neck and feet. 5 & 6 6 4

152 Simile Just like 22nd Street,


153 End Rhyme Pressures building, can't take any more.

My headaches charge. My earaches roar. 7 & 8 6 4

154 Asyndeton Pressures building, can't take any more. 7 6 4

155 Ellipsis Pressures building 7 6 4

156 Ellipsis can't take any more. 7 6 4

157 Epistrophe In the pain

Get me out of this pain. 9 & 10 6 4

158 End Rhyme If I could change to liquid,

But I know that I am solid 1 & 3 7 4

159 End Rhyme I could fill the cracks up in the rock.

And I am my own bad luck. 2 & 4 7 4

160 Antithesis

If I could change to liquid,

I could fill the cracks up in the rock.

But I know that I am solid


1 - 4 7 4

161 Polysyndeton But outside John disappears and my cage dissolves,

and without any reason my body revolves. 5 & 6 7 4

162 Epizeuxis Keep on turning,

Keep on turning, 1 & 2 8 4

163 Epistrophe Turning around,

spinning around. 3 & 4 8 4

164 Paradox and as the notes and coins are taken out

I'm taken in, to the factory floor. 4 & 5 1 5

165 End Rhyme -All ready to use

-just need a fuse. 7 & 9 1 5



167 End Rhyme Got people stocked in every shade,

Must be doing well with trade. 1 & 2 2 5

168 Ellipsis Must be doing well with trade. 2 2 5

169 End Rhyme Stamped, addressed, in odd fatality.

That evens out their personality. 3 & 4 2 5

170 Ellipsis Stamped, addressed, in odd fatality. 3 2 5

171 Parallelism Stamped, addressed, in odd fatality. 3 2 5

172 Asyndeton Stamped, addressed, in odd fatality. 3 2 5

173 End Rhyme With profit potential marked by a sign,

I can recognise some of the production line, 5 & 6 2 5

174 Alliteration With profit potential marked by a sign, 5 2 5

175 End Rhyme No bite at all in labour bondage,

Just wrinkled wrappers or human bandage. 7 & 8 2 5



177 Personification The hall runs like clockwork 1 4 5

178 Simile The hall runs like clockwork 1 4 5

179 End Rhyme Their hands mark out the time,

Like a frozen pantomime. 2 & 4 4 5

180 Simile Empty in their fullness

Like a frozen pantomime. 3 & 4 4 5

181 Paradox Empty in their fullness 3 4 5

182 End Rhyme Everyone's a sales representative

Dishing out failsafe superlative, 5 & 7 4 5

183 End Rhyme Wearing slogans in their shrine. /ʃraɪn/

Brothere John is No. 9. /naɪn/ 6 & 8 4 5



185 End Rhyme so I guess I'll have to pay,

pay my way, 4 & 5 6 5

186 Conduplicatio so I guess I'll have to pay,

pay my way, 4 & 5 6 5

187 Internal Rhyme I see faces and traces of home back in New York City- 1 1 6

188 Rhetorical

Question So you think I'm a tough kid? Is that what you heard? 2 1 6

189 Assonance The call me the trail blazer-Rael-electric razor. 4 1 6

190 Internal Rhyme The call me the trail blazer-Rael-electric razor. 4 1 6

191 End Rhyme I'm the pitcher in the chain gang, we don't believe in pain

'cos we're only as strong, as the weakest link in the chain. 5 & 6 1 6

192 Internal Rhyme I'm the pitcher in the chain gang, we don't believe in pain 5 1 6

193 Asyndeton I'm the pitcher in the chain gang, we don't believe in pain 5 1 6

194 Paradox 'cos we're only as strong, as the weakest link in the chain. 6 1 6

195 Simile 'cos we're only as strong, as the weakest link in the chain. 6 1 6

196 End Rhyme Let me out of Pontiac when I was just seventeen,

I had to get it out of me, if you know what I mean, what I mean. 7 & 8 1 6

197 Asyndeton Let me out of Pontiac when I was just seventeen,


198 Epizeuxis I had to get it out of me, if you know what I mean, what I mean. 8 1 6

199 End Rhyme You say I must be crazy, 'cos I don't care who I hit, who I hit.

But I know it's me that's hitting out and I'm not full of shit. 1 & 2 2 6

200 Epizeuxis You say I must be crazy, 'cos I don't care who I hit, who I hit. 1 2 6

201 End Rhyme I don't care who I hurt, I don't care who I do wrong.

This is your mess I'm stuck in, I really don't belong. 3 & 4 2 6

202 Anaphora I don't care who I hurt, I don't care who I do wrong. 3 2 6

203 Asyndeton I don't care who I hurt, I don't care who I do wrong. 3 2 6

204 Asyndeton This is your mess I'm stuck in, I really don't belong. 4 2 6

205 End Rhyme When I take out my bottle, filled up high with gasoline,

You can tell by the night fires where Rael has been, has been. 5 & 6 2 6

206 Assonance You can tell by the night fires where Rael has been, has been. 6 2 6

207 Epizeuxis You can tell by the night fires where Rael has been, has been. 6 2 6

208 Ellipsis He said I had none to blame, but me. 2 3 6

209 Ellipsis Time to shave, shave it off, it off. 4 3 6

210 Conduplicatio Time to shave, shave it off, it off. 4 3 6

211 Epizeuxis Time to shave, shave it off, it off. 4 3 6

212 Ellipsis No time for romantic escape, 5 3 6

213 End Rhyme When your fluffy heart is ready for rape. No!

Off we go. 6 & 7 3 6

214 End Rhyme You're sitting in your comfort you don't believe I'm real,

You cannot buy protection from the way that I feel. 1 & 2 4 6

215 Asyndeton You're sitting in your comfort you don't believe I'm real, 1 4 6

216 Asyndeton You're sitting in your comfort you don't believe I'm real,


217 Anaphora You're sitting in your comfort you don't believe I'm real,


218 End Rhyme Your progressive hypocrites hand out their trash,

But it was mine in the first place, so I'll burn it to ash. 3 & 4 4 6

219 End Rhyme And I've tasted all the strongest meats,

And laid them down in coloured sheets. 5 & 6 4 6

220 Polysyndeton And I've tasted all the strongest meats,


221 Anaphora And I've tasted all the strongest meats,


222 End Rhyme Who needs illusion of love and affection

When you're out walking the streets with your mainline connection? connection. 7 & 8 4 6

223 Epizeuxis When you're out walking the streets with your mainline connection? connection. 8 4 6

224 Ellipsis He said I had none to blame, but me. 2 5 6

225 Ellipsis Time to shave, shave it off, it off. 4 5 6

226 Conduplicatio Time to shave, shave it off, it off. 4 5 6

227 Epizeuxis Time to shave, shave it off, it off. 4 5 6

228 Internal Rhyme I'm counting out time, 1 1 7

229 Ellipsis Got the whole thing down by numbers. 2 1 7

230 Epistrophe Got the whole thing down by numbers.

All those numbers! 2 & 3 1 7

231 Conduplicatio

Got the whole thing down by numbers.

All those numbers!

Give my guidance!

2 - 4 1 7

232 End Rhyme And you can bet that I've been resting,

for this testing, 2 & 3 2 7

233 Asyndeton

And you can bet that I've been resting,

for this testing,

Digesting every word the experts say.

2 - 4 2 7

234 Parallelism


for this testing,


2 - 4 2 7

235 Conduplicatio Erogenous zones I love you.

Without you, what would a poor boy do? 5 & 6 2 7

236 Alliteration Without you, what would a poor boy do? 6 2 7

237 End Rhyme

Found a girl I wanted to date,

Thought I'd better get it straight.

Went to buy a book before it's too late.

Don't leave nothing to fate.

1 - 4 3 7

238 Ellipsis Thought I'd better get it straight. 2 3 7

239 Ellipsis Went to buy a book before it's too late. 3 3 7

240 Anaphora And I have studied every line, every page in the book,

And now I've got the real thing here, I'm gonna take a look, take a look. 5 & 6 3 7

241 Polysyndeton And I have studied every line, every page in the book,


242 Asyndeton And I have studied every line, every page in the book, 5 3 7

243 Parallelism And I have studied every line, every page in the book, 5 3 7

244 Asyndeton And now I've got the real thing here, I'm gonna take a look, take a look. 6 3 7

245 Epizeuxis And now I've got the real thing here, I'm gonna take a look, take a look. 6 3 7


247 Apposition Look! I've found the hotspots, Figs 1-9. 2 5 7

248 Asyndeton

-still counting out time, got my finger on the button,

'Don't say nuttin-just lie there still

And I'll get you turned on just fine.'

3 - 5 5 7

249 Ellipsis -still counting out time, 3 5 7

250 Ellipsis got my finger on the button, 3 5 7




253 End Rhyme Touch and go with 1-6. /sɪks/

Gotta remember all of my tricks. /trɪks/ 1 & 3 6 7

254 Ellipsis Touch and go with 1-6. 1 6 7

255 End Rhyme Bit of trouble in zone No. 7. /sevn/

There's heaven ahead in No. 11! /ɪˈlevn / 2 & 4 6 7

256 Ellipsis Bit of trouble in zone No. 7. 2 6 7

257 Ellipsis Gotta remember all of my tricks. 3 6 7

258 Epizeuxis 'Honey get hip! It's time to unzip, to unzip. Whipee!' 6 6 7


260 End Rhyme I'm counting out time, reaction none to happy,

Please don't slap me, 1 & 2 7 7

261 Asyndeton

I'm counting out time, reaction none to happy,

Please don't slap me,

I'm a red blooded male and the book said I could not fail.

1 - 3 7 7

262 Internal Rhyme I'm a red blooded male and the book said I could not fail. 3 7 7


264 Asyndeton I'm counting out time, I got unexpected distress from my mistress,

I'll get my money back from the bookstore right away. 4 & 5 7 7

265 Internal Rhyme I'm counting out time, I got unexpected distress from my mistress, 4 7 7




268 Anaphora Without you, what would a poor boy do?

Without you, mankind handkinds thru' the blues. 7 & 8 7 7

269 End Rhyme There is lambswool under my naked feet.

-gives off some kind of heat. 1 & 3 1 8


The wool is soft and warm, 1 & 2 1 8

271 End Rhyme

A salamander scurries into flame to be destroyed.

Imaginary creatures are trapped in birth on celluloid.

Each thought and gesture are caught in celluloid.

There's no room to void.

3, 4, 7

& 9 1 8

272 Alliteration A salamander scurries into flame to be destroyed. 3 1 8

273 End Rhyme The fleas cling to the golden fleece,

Hoping they'll find peace. 5 & 6 1 8

274 Internal Rhyme The fleas cling to the golden fleece, 5 1 8

275 Anaphora There's no hiding in my memory.

There's no room to void. 8 & 9 1 8

276 End Rhyme

The crawlers cover the floor in the red ochre corridor.

For my second sight of people, they've more lifeblood than before.

They're moving. They're moving in time to a heavy wooden door,

1 - 3 2 8

277 Internal Rhyme The crawlers cover the floor in the red ochre corridor. 1 2 8

278 Epizeuxis They're moving. They're moving in time to a heavy wooden door, 3 2 8

279 Internal Rhyme The carpet crawlers heed their callers: 5 2 8

280 Alliteration 'We've got to get in to get out 6 & 7 2 8

281 Paradox 'We've got to get in to get out 6 & 7 2 8

282 Personification Where the needle's eye is winking, closing in on the poor. 4 2 8

283 End Rhyme

There's only one direction in the faces that I see;

It's upward to the ceiling, where the chambers said to be.

Like the forest fight for sunlight, that takes root in every tree.

They are pulled up by the magnet, believing that they're free.

1 - 4 3 8

284 Alliteration Like the forest fight for sunlight, that takes root in every tree. 3 3 8

285 Simile Like the forest fight for sunlight, that takes root in every tree. 3 3 8




289 End Rhyme

Mild mannered supermen are held in kryptonite,

And the wise and foolish virgins giggle with their bodies glowing bright.

Through a door a harvest feast is lit by candlight;

It's the bottom of a staircase that spirals out of sight.

1 - 4 4 8

290 Alliteration Mild mannered supermen are held in kryptonite, 1 4 8

291 Antithesis And the wise and foolish virgins giggle with their bodies glowing bright. 2 4 8

292 Polysyndeton And the wise and foolish virgins giggle with their bodies glowing bright. 2 4 8

293 Parallelism And the wise and foolish virgins giggle with their bodies glowing bright. 2 4 8


295 Alliteration The carpet crawlers heed their callers: 5 5 8


297 End Rhyme

The porcelain manikin with shattered skin fears attack.

The eager pack lift up their pitchers- the carry all they lack.

The liquid has congealed, which has seeped out through the crack,

And the tickler takes his stickleback.

1 - 4 5 8




301 End Rhyme running around to all the doors.

their deductions need applause. 2 & 4 1 9

302 End Rhyme The poor man behind my back.

but the juggler holds another pack. 6 & 8 1 9

303 Ellipsis The rich man stands in front of me,

The poor man behind my back. 5 & 6 1 9

304 Asyndeton The rich man stands in front of me,


305 Ellipsis The rich man stands in front of me,


306 Anaphora The rich man stands in front of me,


307 Conduplicatio I need someone to believe in, someone to trust. 1 & 2 1 9

308 Conduplicatio I need someone to believe in, someone to trust. 1 & 2 1 9

309 End Rhyme I'd rather trust a countryman than a townman,

You can judge by his eyes, take a look if you can, 1 & 2 3 9

310 End Rhyme He'll smile through his guard,

Survival trains hard. 3 & 4 3 9

311 End Rhyme I'd rather trust a man who works with his hands,

He looks at you once, you know he understands, 5 & 6 3 9

312 Alliteration I'd rather trust a man who works with his hands, 5 3 9

313 Synecdoche I'd rather trust a man who works with his hands, 5 3 9

314 End Rhyme Don't need any shield,

When you're out in the field. 7 & 8 3 9

315 Asyndeton

I'd rather trust a countryman than a townman,

You can judge by his eyes, take a look if you can,

He'll smile through his guard,

Survival trains hard.

1 - 4 3 9

316 Asyndeton

I'd rather trust a man who works with his hands,

He looks at you once, you know he understands,

Don't need any shield,

When you're out in the field.

5 - 8 3 9

317 End Rhyme

But down here,

I'm so alone with my fear,

With everything that I hear.

1 - 3 4 9

318 Asyndeton

And every single door, that I've walked through

Brings me back here again,

I've got to find my own way.

4 - 6 4 9

319 Ellipsis The priest and the magician,

Singing all the chants that they have ever heard; 1 & 2 5 9

320 End Rhyme Singing all the chants that they have ever heard;

Even academics, searching printed word. 2 & 4 5 9

321 Ellipsis Even academics, searching printed word. 4 5 9

322 Asyndeton My father to the left of me,

My mother to the right, 1 & 2 6 9

323 Ellipsis My father to the left of me,


324 End Rhyme My mother to the right,

But nowhere feels quite right. 2 & 4 6 9

325 Antithesis Like everyone else they'er pointing


326 End Rhyme I'd rather trust a man who doesn't shout what he's found,

There's no need to sell if you're homeward bound. 1 & 2 8 9

327 Asyndeton I'd rather trust a man who doesn't shout what he's found,


328 End Rhyme If I chose a side,

He won't take me for a ride. 3 & 4 8 9

329 End Rhyme The chamber was in confusion-all the voices shouting loud.

through the crowd' 1 & 3 1 10

330 Internal Rhyme I could only just hear, a voice quite near say, 'Please help me 2 1 10

331 Internal Rhyme 'Said if I helped her thru' she could help me too, but I could 4 1 10

332 Ellipsis 'Said if I helped her thru' she could help me too, but I could 4 1 10

333 Antithesis Said if I helped her thru' she could help me too, but I could

see that she was wholly blind. 4 & 5 1 10

334 End Rhyme see that she was wholly blind.

But from her pale face and her pale skin, a moonlight shined. 5 & 6 1 10

335 Alliteration Lilywhite Lilith, 1 2 10

336 Assonance Lilywhite Lilith, 1 2 10



339 End Rhyme

When I'd led her through the people, the angry noise began to grow.

She said 'Let me feel the way the breezes blow, and I'll show

you where to go.'

1 - 3 3 10

340 Internal Rhyme She said 'Let me feel the way the breezes blow, and I'll show 2 3 10

341 Alliteration She said 'Let me feel the way the breezes blow, and I'll show 2 3 10

342 Asyndeton So I followed her into a big round cave, she said 'They're coming

for you, now don't be afraid.' 4 & 5 3 10

343 End Rhyme for you, now don't be afraid.'

Then she sat me down on a cold stone throne, carved in jade. 5 & 6 3 10

344 Assonance Then she sat me down on a cold stone throne, carved in jade. 6 3 10





349 Asyndeton She leaves me in my darkness,

I have to face my fear, 1 & 2 5 10

350 Personification And the darkness closes in on me, 3 5 10

351 Asyndeton And the darkness closes in on me,

I can hear a whirring sound growling near. 3 & 4 5 10

352 End Rhyme I can hear a whirring sound growling near.

Lit up by whatever's coming here. 4 & 6 5 10

353 Alliteration Two golden globes float into the room 7 5 10

354 Internal Rhyme And a blaze of white light fills the air. 8 5 10

355 Asyndeton

All the pumping's nearly over for my sweet heart,

This is the one for me,

Time to meet the chef,

O boy! running man is out of death.

1 - 4 1 11

356 Ellipsis Time to meet the chef, 3 1 11

357 End Rhyme Time to meet the chef,

O boy! running man is out of death. 4 & 5 1 11

358 Internal Rhyme Feel cold and old, it's getting hard to catch my breath. 5 1 11

359 Internal Rhyme 's back to ash, now, you've had your flash boy 6 1 11

360 Asyndeton 's back to ash, now, you've had your flash boy 6 1 11

361 Ellipsis 's back to ash 6 1 11

362 Asyndeton

The rocks, in time, compress

your blood to oil,

your flesh to coal,

enrich the soil,

not everybody's goal.

7 - 11 1 11

363 Parallelism


your blood to oil,

your flesh to coal,

enrich the soil,

7 - 10 1 11

364 Parenthesis The rocks, in time, compress

your blood to oil, 7 & 8 1 11

365 End Rhyme your blood to oil,

enrich the soil, 8 & 10 1 11

366 Anaphora your blood to oil,

your flesh to coal, 8 & 9 1 11

367 End Rhyme your flesh to coal,

not everybody's goal. 9 & 11 1 11

368 Ellipsis not everybody's goal. 11 1 11

369 End Rhyme

But I'm sure I hear a train.

O boy! I don't even feel no pain-

I guess I must be driving myself insane.

2 - 4 2 11

370 Chiasmus From familiar fragrance to flavours strange. 4 1 11

371 End Rhyme Or heaven plug a hole in the earth-'how wonderful to be so profound,

when everything you are is dying underground.' 6 & 7 2 11

372 Asyndeton I feel the pull on the rope, let me off at the rainbow. 1 3 11

373 End Rhyme Different orbits for my bones

Not me, just quietly buried in stones, 3 & 4 3 11

374 Asyndeton Not me, just quietly buried in stones,

Keep the deadline open with my maker! 4 & 5 3 11

375 Ellipsis Not me, just quietly buried in stones, 4 3 11

376 End Rhyme Keep the deadline open with my maker!

See me stretch; for God's elastic acre 5 & 6 3 11

377 End Rhyme So sorry you had to wait.

She's very rarely late.' 9 & 11 3 11

378 Internal Rhyme She's very rarely late.' 11 3 11

379 End Rhyme The scent grows richer, he knows he must be near,

He finds a long passageway lit by chandelier. 1 & 2 1 12

380 Asyndeton The scent grows richer, he knows he must be near,


381 End Rhyme Each step he takes, the perfumes change

From familiar fragrance to flavours strange. 3 & 4 1 12

382 Alliteration From familiar fragrance to flavours strange. 4 1 12

383 Antimetabole Damn it all! does earth plug a hole in heaven,

Or heaven plug a hole in the earth-'how wonderful to be so profound, 5 & 6 2 12

384 Hyperbaton From familiar fragrance to flavours strange. 4 1 12

385 Synecdoche A magnificent chamber meets his eye. 5 1 12

386 End Rhyme Inside, a long rose-water pool is shrouded by fine mist.

Stepping in the moist silence, with a warm breeze he's gently kissed. 1 & 2 2 12

387 End Rhyme Thinking he is quite alone,

He enters the room, as if it were his own, 1 & 2 3 12

388 End Rhyme Rael stands astonished doubting his sight,

Struck by beauty, gripped in fright; 1 & 2 4 12

389 Asyndeton Rael stands astonished doubting his sight,


390 Parallelism Rael stands astonished doubting his sight,


391 End Rhyme Three vermilion snakes of female face,

The smallest motion, filled with grace. 3 & 4 4 12

392 Internal Rhyme Three vermilion snakes of female face, 3 4 12

393 Alliteration Three vermilion snakes of female face, 3 4 12

394 End Rhyme Muted melodies fill the echoing hall,

But there is no sign of warning in the siren's call: 5 & 6 4 12

395 Alliteration Muted melodies fill the echoing hall, 5 4 12

396 Oxymoron Muted melodies fill the echoing hall, 5 4 12

397 End Rhyme Rael welcome, we are the Lamia of the pool.

We have been waiting for our waters to bring you cool.' 7 & 8 4 12

398 End Rhyme Putting fear beside him, he trusts in beauty blind,

He slips into the nectar, leaving his shredded clothes behind. 1 & 2 5 12

399 Asyndeton Putting fear beside him, he trusts in beauty blind,


400 Alliteration Putting fear beside him, he trusts in beauty blind, 1 5 12

401 Hyperbaton Putting fear beside him, he trusts in beauty blind, 1 5 12

402 End Rhyme With their tongues, they test, taste and judge all that is mine.

That glide up and down my spine. 3 & 5 5 12

403 Consonance 'With their tongues, they test, taste and judge all that is mine. 3 5 12

404 Parallelism 'With their tongues, they test, taste and judge all that is mine. 3 5 12

405 Antithesis That glide up and down my spine. 5 5 12

406 End Rhyme As they nibble the fruit of my flesh, I feel no pain,

Only a magic that a name would stain. 1 & 2 6 12

407 Asyndeton As they nibble the fruit of my flesh, I feel no pain,


408 Paradox As they nibble the fruit of my flesh, I feel no pain, 1 6 12

409 End Rhyme With the first drop of my blood in their veins

Their faces are convulsed in mortal pains. 3 & 4 6 12

410 End Rhyme Each empty snakelike body floats,

Silent sorrow in empty boats. 1 & 2 7 12

411 Metaphor Each empty snakelike body floats,


412 Alliteration Silent sorrow in empty boats. 2 7 12

413 End Rhyme A sickly sourness fills the room,

The bitter harvest of a dying bloom. 3 & 4 7 12

414 Alliteration A sickly sourness fills the room, 3 7 12

415 Metaphor A sickly sourness fills the room,


416 End Rhyme Looking for motion I know I will not find,

I stroke the curls now turning pale, in which I'd lain entwined 5 & 6 7 12

417 Asyndeton Looking for motion I know I will not find,


418 Hyperbaton 'O Lamia, your flesh that remains I will take as my food' 7 7 12

419 Internal Rhyme It is the scent of garlic that lingers on my chocolate fingers. 8 7 12

420 Asyndeton Looking behind me, the water turns icy blue,

The lights are dimmed and once again the stage is set for you. 1 & 2 8 12

421 End Rhyme I wandered lonely as a cloud,

I've never seen a stranger crowd; 1 & 3 1 13, a)

422 End Rhyme Till I came upon this dirty street.

Slubberdegullions on a squeaky feet, 2 & 4 1 13, a)

423 Simile I wandered lonely as a cloud, 1 1 13, a)

424 Apposition I've never seen a stranger crowd;

Slubberdegullions on a squeaky feet, 3 & 4 1 13, a)

425 Onomatopoeia Slubberdegullions on a squeaky feet, 4 1 13, a)

426 End Rhyme

Continually pacing,

With nonchalant embracing,

Each orifice disgracing

1 - 3 2 13, a)

427 Parallelism With nonchalant embracing,

Each orifice disgracing 2 & 3 2 13, a)

428 End Rhyme His skin's all covered in slimy lumps.

His twisted limbs like rubber stamps 1 & 3 3 13, a)

429 Simile His twisted limbs like rubber stamps 3 3 13, a)

430 End Rhyme With lips that slide across each chin.

Are waved in welcome say 'Please join in.' 2 & 4 3 13, a)

431 End Rhyme

My grip must be flipping,

Cos his handshake keeps slipping,

My hopes keep on dipping

5 - 7 3 13, a)

432 Asyndeton




And his lips keep on smiling all the time.

5 - 8 3 13, a)

433 Polysyndeton





5 - 8 3 13, a)

434 End Rhyme Don't be alarmed at what you see,

As what you see in me.' 2 & 4 4 13, a)

435 Anaphora You better watch it son, your sentence has only just begun

You better run and join your brother John.' 1 & 2 6 13, a)

436 Asyndeton You better watch it son, your sentence has only just begun

You better run and join your brother John.' 1 & 2 6 13, a)

437 Parallelism You better run and join your brother John.' 2 6 13, a)

438 End Rhyme You're in the colony of slippermen.

There's no who? why? what? or when? 1 & 2 1 13, b)

439 Alliteration There's no who? why? what? or when? 2 1 13, b)

440 End Rhyme To see, Doktor Dyper, reformed sniper-

he'll whip off your windscreenwiper 2 & 3 2 13, b)

441 Alliteration To see, Doktor Dyper, reformed sniper- 2 2 13, b)

442 End Rhyme John and I are able

To face the Doktor and his marble table. 1 & 2 3 13, b)

443 Internal Rhyme To face the Doktor and his marble table. 2 3 13, b)

444 Internal Rhyme Understand Rael, it's the end of your tail. 1 4 13, b)

445 End Rhyme Don't delay, dock the dick!'

I watch his countdown timer tick...... 1 & 2 5 13, b)

446 Alliteration 'Don't delay, dock the dick!' 1 5 13, b)

447 Alliteration I watch his countdown timer tick...... 2 5 13, b)

448 Onomatopoeia I watch his countdown timer tick...... 2 5 13, b)

449 End Rhyme He places the number into a tube,

A yellow plastic 'shoobedoobe'. 1 & 2 1 13, c)

450 End Rhyme It says: 'Though your fingers may tickle

You'll be safe in our pickle.' 3 & 4 1 13, c)

451 End Rhyme Suddenly, black cloud comes down from the sky.

It's a supersize black bird that sure can fly. 5 & 6 1 13, c)

452 Alliteration Suddenly, black cloud comes down from the sky. 5 1 13, c)

453 Alliteration It's a supersize black bird that sure can fly. 6 1 13, c)

454 End Rhyme The raven brings on darkness and night

He flies right down, gives me one hell of a fright. 1 & 2 2 13, c)

455 Internal Rhyme He flies right down, gives me one hell of a fright. 2 2 13, c)

456 Asyndeton He flies right down, gives me one hell of a fright. 2 2 13, c)

457 Parallelism He flies right down, gives me one hell of a fright. 2 2 13, c)

458 End Rhyme He takes the tube right out of my hands

Man, I've got to find out where that black bird lands. 3 & 4 2 13, c)

459 Alliteration Man, I've got to find out where that black bird lands. 4 2 13, c)

460 End Rhyme Look here John, I've got to run

I need you now, you going to come?' 1 & 2 3 13, c)

461 Asyndeton I need you now, you going to come?' 2 3 13, c)

462 Ellipsis I need you now, you going to come?' 2 3 13, c)

463 End Rhyme

We've been cured on the couch

Now you're sick with your grouch.

I'll not risk my honey pouch

1 - 3 5 13, c)

464 End Rhyme Even though I never learn,

I'd hoped he'd show just some concern. 2 & 3 6 13, c)

465 Parallelism He walks away and leaves me once again. 1 6 13, c)

466 End Rhyme I'm in agony of Slipperpain

I pray my undercarriage will sustain. 1 & 2 7 13, c)

467 End Rhyme The chase is on, the pace is hot

But I'm running so very hard with everything I've got. 3 & 4 7 13, c)

468 Internal Rhyme The chase is on, the pace is hot 3 7 13, c)

469 Asyndeton The chase is on, the pace is hot 3 7 13, c)

470 End Rhyme He leads me down an underpass

Though it narrows, he still flies very fast, 5 & 6 7 13, c)

471 End Rhyme When the tunnel stops

I catch sight of the tube, just as it drops. 7 & 8 7 13, c)

472 End Rhyme I'm on top of a bank, to steep to climb,

I see it hit the water, just in time, 9 & 10 7 13, c)

473 Asyndeton I'm on top of a bank, to steep to climb, 9 7 13, c)

474 Parallelism I'm on top of a bank, to steep to climb, 9 7 13, c)

475 End Rhyme As he walks along the gorge's edge,

A window in the bank above his head 1 & 3 1 14

476 End Rhyme Subway sounds, the sounds of complaint

The smell of acid on his gun of paint. 5 & 6 1 14

477 Alliteration Subway sounds, the sounds of complaint 5 1 14

478 Conduplicatio Subway sounds, the sounds of complaint 5 1 14

479 End Rhyme As it carves out anger in a blood-red band,

Destroyed tomorrow by an unknown hand; 7 & 8 1 14

480 End Rhyme Is this the way out from this endless scene?

Or just an entrance to another dream?

10 &

11 1 14

481 Alliteration And the light dies down on Broadway. 12 1 14

482 Personification But as the skylight beckons him to leave, 1 2 14

483 Alliteration He hears a scream from far below. 2 2 14

484 Alliteration Within the raging water, writhes the form 3 2 14

485 Asyndeton Within the raging water, writhes the form

Of brother John, he cries for help. 3 & 4 2 14

486 End Rhyme The gate is fading now, but open wide,

But John is drowning, I must decide 1 & 2 3 14

487 Polysyndeton

The gate is fading now, but open wide,

But John is drowning, I must decide

Between the freedom I had in the rat-race,

Or to stay forever in this forsaken place;

1 - 4 3 14

488 Parallelism The gate is fading now, but open wide, 1 3 14

489 Antithesis The gate is fading now, but open wide, 1 3 14

490 Asyndeton But John is drowning, I must decide 2 3 14

491 Antithesis Between the freedom I had in the rat-race,

Or to stay forever in this forsaken place; 3 & 4 3 14

492 End Rhyme

Hey John!

He makes for the river and the gate is gone,

Back to the void where it came from.

5 - 7 3 14

493 Parallelism He makes for the river and the gate is gone, 6 3 14

494 Alliteration And the light dies down on Broadway. 8 3 14

495 End Rhyme Struggling down the slope,

There's not much hope. 1 & 2 1 15

496 End Rhyme I begin to try to ride the scree

but the rocks are tumbling all around me. 3 & 4 1 15

497 Alliteration I begin to try to ride the scree 3 1 15

498 End Rhyme

If I want John alive,

I've got to ditch my fear - take a dive

While I've still got my drive to survive.

1 - 3 2 15

499 Internal Rhyme I've got to ditch my fear - take a dive 2 2 15

500 Internal Rhyme While I've still got my drive to survive. 3 2 15

501 Internal Rhyme Evel Knievel you got nothing on me. 1 3 15

502 End Rhyme John is drifting out of sight,

That you find out how to fight. 2 & 4 1 16

503 Asyndeton

Moving down the water

John is drifting out of sight,

It's only at the turning point

That you find out how to fight.

1 - 4 1 16

504 Epistrophe In the cold, feel the cold 5 1 16

505 Ellipsis In the cold, feel the cold 5 1 16

506 End Rhyme all around

Surround me with its sound. 6 & 8 1 16

507 End Rhyme I can't get through to the other side.

There's only one way, that's to ride. 2 & 4 2 16

508 Epizeuxis Taken down, taken down 1 3 16

509 End Rhyme My fire is burning low.

by the undertow 2 & 4 3 16

510 Asyndeton And I'm spiralled down the river bed,

My fire is burning low. 3 & 4 3 16

511 End Rhyme I'm waiting for John to be carried past.

We hold together and shoot the rapids fast. 2 & 3 4 16

512 Parallelism We hold together and shoot the rapids fast. 3 4 16

513 End Rhyme The dark and the deep

have no-one left to keep. 2 & 3 5 16

514 Polysyndeton

And when the waters slow down

The dark and the deep

have no-one left to keep.

1 - 3 5 16

515 Asyndeton Something's changed, that's not your face. 5 5 16

516 End Rhyme When it's cold, it comes slow.

it is warm, just watch it grow. 1 & 2 1 17

517 Anaphora it is here. it is now. 4 1 17

518 End Rhyme Just a little bit of it can bring you up or down.

Like the supper it is cooking in your hometown. 5 & 6 1 17

519 Antithesis Just a little bit of it can bring you up or down. 5 1 17

520 Simile Like the supper it is cooking in your hometown. 6 1 17

521 End Rhyme it is chicken, it is eggs,

it is in between your legs. 7 & 8 1 17

522 Anaphora


it is in between your legs.

it is walking on the moon,

7 - 9 1 17

523 Asyndeton




leaving your cocoon.

7 - 10 1 17

524 End Rhyme it is walking on the moon,

leaving your cocoon. 9 & 10 1 17

525 End Rhyme

it is the jigsa. it is purple haze.

it never stays in one place, but it's not a passing phase,



1 - 4 2 17

526 Internal Rhyme it never stays in one place, but it's not a passing phase, 2 2 17

527 Anaphora






1 - 5 2 17

528 Asyndeton





2 - 5 2 17

529 End Rhyme Any rock can be made to roll,

If you've enough of it to pay the toll. 1 & 2 3 17

530 End Rhyme

it has no home in words or goal,

Not even in your favourite hole.

it is the hope for the dope.

3 - 5 3 17

531 Internal Rhyme it is the hope for the dope. 5 3 17

532 End Rhyme When you ride the horse without a hoof.

Cocktails on the roof. 6 & 8 3 17

533 End Rhyme When you eat right fruit you see everything alive,

it is inside spirit, with enough grit to survive 1 & 2 4 17

534 Asyndeton When you eat right fruit you see everything alive,


535 End Rhyme If you think it's pretentious, you've been taken for a ride.

Look across the mirror, before you chose de cide 3 & 4 4 17

536 Anaphora it is here. it is now

it is Real. it is Rael 5 & 6 4 17

537 Consonance it is Real. it is Rael 6 4 17

Appendix III

Data of Each Poetic Device

Table A.3.1 Data of End Rhymes

Number

of Data Data

Line

(s) Stanza

Song

No.

2 Early morning Manhattan,

Ocean winds blow on the land. 1 & 2 2 1

4 The Movie-Palace is now undone,


6 Sleeping cheaply on the midnight show,


10 It seems they cannot leave their dream.

There's something moving in the sidewalk steam, 8 & 9 2 1

15 Nightime's flyers feel their pains.

Drugstore takes down the chains. 1 & 2 3 1

18 Metal motion comes in bursts,

But the gas station can quench that thirst. 3 & 4 3 1

21 Suspension cracked on unmade road

The trucker's eyes read 'Overload' 5 & 6 3 1

25 Rael Imperial Aerosol Kid

Exits into daylight, spraygun hid 8 & 9 3 1

27 The lamb seems right out of place,

Yet the Broadway street scene finds a focus in its face 1 & 2 4 1

32 Somehow it's lying there,

Brings a stillness to the air. 3 & 4 4 1

33 Though man-made light, at night is very bright,

As the neons dim, to the coat of white. 5 & 7 4 1

36

There's no whitewash victim,

Rael Imperial Aerosol Kid, Wipes his gun-he's forgotten what he did,

6, 8, 9 4 1

43 Wonder women draw your blind! Don't look at me! I'm not your kind.

5 & 6 5 1

45 Something inside me has just begun, Lord knows what I have done,

8 & 9 5 1

50

There's something solid forming in the air, The wall of death is lowered in Times Square.

No-one seems to care,

They carry on as if nothing was there.

1 - 4 1 2

58 The dust settles on my skin,

Making a crust I cannot move in 7 & 8 1 2



64 Lenny Bruce, declares a truce and plays his other hand.

Marshall McLuhan, casual viewin', head buried in the sand. 3 & 4 2 2

69 Sirens on the rooftops wailing, but there's no ship sailing.

Groucho, with his movies trailing, stands alone with his punchline failing. 5 & 6 2 2

81 There's Howard Hughes in blue suede shoes, smiling at the majorettes


12 &

13 2 2

86 Wrapped up in some powdered wool-I guess I'm losing touch.

Don't tell me I'm dying, 'cos I ain't changed that much. 1 & 2 1 3

88 The only sound is water drops, I wonder where the hell I am,


93 There's nothing I can recognise; this is nowhere that I've known.

With no sign of life at all, I guess that I'm alone, 1 & 2 2 3



104 Rockface moves to press my skin

White liquids turn sour within 6 & 7 1 4

107 Must tell myself that I'm not here.

I'm drowning in a liquid fear.

10 &

11 1 4

110 Bottled in a strong compression,

My distortion shows obsession

12 &

13 1 4

113 If I keep my self-control,

I'll be safe in my soul. 1 & 2 2 4

114 And the childhood belief

Brings a moment's relief, 3 & 4 2 4

115



My spirit just never learns.

5 - 7 2 4

131 I'm dressed up in a white costume

Padding out leftover room. 5 & 6 3 4

135 In the glare of a light,

I see a strange kind of sight; 1 & 2 4 4

136 Of cages joined to form a star

Each person can't go very far; 3 & 4 4 4

137

All tied to their things

They are netted by their strings,

Free to flutter in memories of their wasted wings.

5 - 7 4 4

139 Outside the cage I see my Brother John,

I cry out help! before he can be gone, 1 & 3 5 4

140 He turns his head so slowly round.

And he looks at me without a sound. 2 & 4 5 4

142 But he does not even want to try to speak.

And a silent tear of blood dribbles down his cheek, 6 & 8 5 4

143 I'm helpless in my violent rage


148 Holding still. Pinned for kill.

Chances narrow that I'll make it, 2 & 3 6 4

151 Just like 22nd Street,


153 Pressures building, can't take any more.

My headaches charge. My earaches roar. 7 & 8 6 4

158 If I could change to liquid,

But I know that I am solid 1 & 3 7 4

159 I could fill the cracks up in the rock.

And I am my own bad luck. 2 & 4 7 4

165 -All ready to use



-just need a fuse.

8 &

10 6 5

167 Got people stocked in every shade,

Must be doing well with trade. 1 & 2 2 5

169 Stamped, addressed, in odd fatality.

That evens out their personality. 3 & 4 2 5

173 With profit potential marked by a sign,

I can recognise some of the production line, 5 & 6 2 5

175 No bite at all in labour bondage,

Just wrinkled wrappers or human bandage. 7 & 8 2 5

176 -All ready to use -just need a fuse.

2 & 4 3 5

179 Their hands mark out the time, Like a frozen pantomime.

2 & 4 4 5

182 Everyone's a sales representative Dishing out failsafe superlative,

5 & 7 4 5

183 Wearing slogans in their shrine. /ʃraɪn/

Brothere John is No. 9. /naɪn/ 6 & 8 4 5




pay my way, 4 & 5 6 5

191 I'm the pitcher in the chain gang, we don't believe in pain

'cos we're only as strong, as the weakest link in the chain. 5 & 6 1 6

196 Let me out of Pontiac when I was just seventeen,


199 You say I must be crazy, 'cos I don't care who I hit, who I hit.

But I know it's me that's hitting out and I'm not full of shit. 1 & 2 2 6

201 I don't care who I hurt, I don't care who I do wrong.

This is your mess I'm stuck in, I really don't belong. 3 & 4 2 6

205 When I take out my bottle, filled up high with gasoline,

You can tell by the night fires where Rael has been, has been. 5 & 6 2 6

213 When your fluffy heart is ready for rape. No!

Off we go. 6 & 7 3 6

214 You're sitting in your comfort you don't believe I'm real,


218 Your progressive hypocrites hand out their trash,

But it was mine in the first place, so I'll burn it to ash. 3 & 4 4 6

219 And I've tasted all the strongest meats,


222 Who needs illusion of love and affection

When you're out walking the streets with your mainline connection? connection. 7 & 8 4 6

232 And you can bet that I've been resting,

for this testing, 2 & 3 2 7

237

Found a girl I wanted to date,

Thought I'd better get it straight.

Went to buy a book before it's too late. Don't leave nothing to fate.

1 - 4 3 7

253 Touch and go with 1-6. /sɪks/

Gotta remember all of my tricks. /trɪks/ 1 & 3 6 7

255 Bit of trouble in zone No. 7. /sevn/

There's heaven ahead in No. 11! /ɪˈlevn / 2 & 4 6 7

260 I'm counting out time, reaction none to happy,

Please don't slap me, 1 & 2 7 7

269 There is lambswool under my naked feet.

-gives off some kind of heat. 1 & 3 1 8

271

A salamander scurries into flame to be destroyed.

Imaginary creatures are trapped in birth on celluloid.

Each thought and gesture are caught in celluloid. There's no room to void.

3, 4, 7

& 9 1 8

273 The fleas cling to the golden fleece, Hoping they'll find peace.

5 & 6 1 8

276 The crawlers cover the floor in the red ochre corridor. For my second sight of people, they've more lifeblood than before.

They're moving. They're moving in time to a heavy wooden door,

1 - 3 2 8

283

There's only one direction in the faces that I see;

It's upward to the ceiling, where the chambers said to be.

Like the forest fight for sunlight, that takes root in every tree.

They are pulled up by the magnet, believing that they're free.

1 - 4 3 8

289

Mild mannered supermen are held in kryptonite,

And the wise and foolish virgins giggle with their bodies glowing bright. Through a door a harvest feast is lit by candlight;

It's the bottom of a staircase that spirals out of sight.

1 - 4 4 8

297

The porcelain manikin with shattered skin fears attack.

The eager pack lift up their pitchers- the carry all they lack.

The liquid has congealed, which has seeped out through the crack,

And the tickler takes his stickleback.

1 - 4 5 8

301 running around to all the doors.

their deductions need applause. 2 & 4 1 9

302 The poor man behind my back.

but the juggler holds another pack. 6 & 8 1 9

309 I'd rather trust a countryman than a townman,

You can judge by his eyes, take a look if you can, 1 & 2 3 9

310 He'll smile through his guard,

Survival trains hard. 3 & 4 3 9

311 I'd rather trust a man who works with his hands,

He looks at you once, you know he understands, 5 & 6 3 9

314 Don't need any shield,

When you're out in the field. 7 & 8 3 9

317

But down here,

I'm so alone with my fear,

With everything that I hear.

1 - 3 4 9

320 Singing all the chants that they have ever heard;

Even academics, searching printed word. 2 & 4 5 9

324 My mother to the right,


326 I'd rather trust a man who doesn't shout what he's found,


328 If I chose a side,

He won't take me for a ride. 3 & 4 8 9

329 The chamber was in confusion-all the voices shouting loud.

through the crowd' 1 & 3 1 10

334 see that she was wholly blind.

But from her pale face and her pale skin, a moonlight shined. 5 & 6 1 10

339

When I'd led her through the people, the angry noise began to grow.

She said 'Let me feel the way the breezes blow, and I'll show

you where to go.'

1 - 3 3 10

343 for you, now don't be afraid.'

Then she sat me down on a cold stone throne, carved in jade. 5 & 6 3 10

352 I can hear a whirring sound growling near.

Lit up by whatever's coming here. 4 & 6 5 10

357 Time to meet the chef,

O boy! running man is out of death. 4 & 5 1 11

365 your blood to oil,

enrich the soil,

8 &

10 1 11

367 your flesh to coal,


9 &

11 1 11

369

But I'm sure I hear a train.

O boy! I don't even feel no pain- I guess I must be driving myself insane.

2 - 4 2 11

371 Or heaven plug a hole in the earth-'how wonderful to be so profound, when everything you are is dying underground.'

6 & 7 2 11

373 Different orbits for my bones Not me, just quietly buried in stones,

3 & 4 3 11

376 Keep the deadline open with my maker! See me stretch; for God's elastic acre

5 & 6 3 11

377 So sorry you had to wait. She's very rarely late.'

9 & 11

3 11

379 The scent grows richer, he knows he must be near, He finds a long passageway lit by chandelier.

1 & 2 1 12

381 Each step he takes, the perfumes change From familiar fragrance to flavours strange.

3 & 4 1 12

386 Inside, a long rose-water pool is shrouded by fine mist. Stepping in the moist silence, with a warm breeze he's gently kissed.

1 & 2 2 12

387 Thinking he is quite alone,

He enters the room, as if it were his own, 1 & 2 3 12



391 Three vermilion snakes of female face,

The smallest motion, filled with grace. 3 & 4 4 12

394 Muted melodies fill the echoing hall,

But there is no sign of warning in the siren's call: 5 & 6 4 12

397 Rael welcome, we are the Lamia of the pool.

We have been waiting for our waters to bring you cool.' 7 & 8 4 12

398 Putting fear beside him, he trusts in beauty blind,


402 With their tongues, they test, taste and judge all that is mine.

That glide up and down my spine. 3 & 5 5 12

406 As they nibble the fruit of my flesh, I feel no pain,


409 With the first drop of my blood in their veins

Their faces are convulsed in mortal pains. 3 & 4 6 12





416 Looking for motion I know I will not find,


421 I wandered lonely as a cloud,

I've never seen a stranger crowd; 1 & 3 1

13,

a)

422 Till I came upon this dirty street.

Slubberdegullions on a squeaky feet, 2 & 4 1

13,

a)

426

Continually pacing,

With nonchalant embracing,

Each orifice disgracing

1 - 3 2 13,

a)

428 His skin's all covered in slimy lumps.

His twisted limbs like rubber stamps 1 & 3 3

13,

a)

430 With lips that slide across each chin.

Are waved in welcome say 'Please join in.' 2 & 4 3

13,

a)

431




5 - 7 3 13,

a)

434 Don't be alarmed at what you see,

As what you see in me.' 2 & 4 4

13,

a)

438 You're in the colony of slippermen.

There's no who? why? what? or when? 1 & 2 1

13,

b)

440 To see, Doktor Dyper, reformed sniper-

he'll whip off your windscreenwiper 2 & 3 2

13,

b)

442 John and I are able

To face the Doktor and his marble table. 1 & 2 3

13,

b)

445 Don't delay, dock the dick!'

I watch his countdown timer tick...... 1 & 2 5

13,

b)

449 He places the number into a tube,

A yellow plastic 'shoobedoobe'. 1 & 2 1

13,

c)

450 It says: 'Though your fingers may tickle

You'll be safe in our pickle.' 3 & 4 1

13,

c)

451 Suddenly, black cloud comes down from the sky.

It's a supersize black bird that sure can fly. 5 & 6 1

13,

c)

454 The raven brings on darkness and night

He flies right down, gives me one hell of a fright. 1 & 2 2

13,

c)

458 He takes the tube right out of my hands

Man, I've got to find out where that black bird lands. 3 & 4 2

13,

c)

460 Look here John, I've got to run

I need you now, you going to come?' 1 & 2 3

13,

c)

463 We've been cured on the couch Now you're sick with your grouch.

I'll not risk my honey pouch

1 - 3 5 13, c)

464 Even though I never learn,

I'd hoped he'd show just some concern. 2 & 3 6

13,

c)

466 I'm in agony of Slipperpain

I pray my undercarriage will sustain. 1 & 2 7

13,

c)

467 The chase is on, the pace is hot

But I'm running so very hard with everything I've got. 3 & 4 7

13,

c)

470 He leads me down an underpass

Though it narrows, he still flies very fast, 5 & 6 7

13,

c)

471 When the tunnel stops

I catch sight of the tube, just as it drops. 7 & 8 7

13,

c)

472 I'm on top of a bank, to steep to climb,

I see it hit the water, just in time,

9 &

10 7

13,

c)

475 As he walks along the gorge's edge,

A window in the bank above his head 1 & 3 1 14

476 Subway sounds, the sounds of complaint

The smell of acid on his gun of paint. 5 & 6 1 14

479 As it carves out anger in a blood-red band,

Destroyed tomorrow by an unknown hand; 7 & 8 1 14

480 Is this the way out from this endless scene?

Or just an entrance to another dream?

10 &

11 1 14

486 The gate is fading now, but open wide,

But John is drowning, I must decide 1 & 2 3 14

492

Hey John!

He makes for the river and the gate is gone,

Back to the void where it came from.

5 - 7 3 14

495 Struggling down the slope,

There's not much hope. 1 & 2 1 15

496 I begin to try to ride the scree

but the rocks are tumbling all around me. 3 & 4 1 15

498

If I want John alive,

I've got to ditch my fear - take a dive

While I've still got my drive to survive.

1 - 3 2 15

502 John is drifting out of sight,

That you find out how to fight. 2 & 4 1 16

506 all around

Surround me with its sound. 6 & 8 1 16

507 I can't get through to the other side.

There's only one way, that's to ride. 2 & 4 2 16

509 My fire is burning low.

by the undertow 2 & 4 3 16

511 I'm waiting for John to be carried past.

We hold together and shoot the rapids fast. 2 & 3 4 16

513 The dark and the deep

have no-one left to keep. 2 & 3 5 16

516 When it's cold, it comes slow.

it is warm, just watch it grow. 1 & 2 1 17

518 Just a little bit of it can bring you up or down.

Like the supper it is cooking in your hometown. 5 & 6 1 17

521 it is chicken, it is eggs,

it is in between your legs. 7 & 8 1 17

524 it is walking on the moon,


9 &

10 1 17

525


it never stays in one place, but it's not a passing phase, it is in the single's bar, in the distance of the face,


1 - 4 2 17

529 Any rock can be made to roll,

If you've enough of it to pay the toll. 1 & 2 3 17

530

it has no home in words or goal,

Not even in your favourite hole.

it is the hope for the dope.

3 - 5 3 17

532 When you ride the horse without a hoof. Cocktails on the roof.

6 & 8 3 17

533 When you eat right fruit you see everything alive,


535 If you think it's pretentious, you've been taken for a ride.

Look across the mirror, before you chose de cide 3 & 4 4 17

Table A.3.2 Data of Asyndetons

Number

of Data Data

Line

(s) Stanza

Song

No.

5 The Movie-Palace is now undone,


9 Sleeping cheaply on the midnight show,


37 Rael Imperial Aerosol Kid,

Wipes his gun-he's forgotten what he did, 8 & 9 4 1

46 Something inside me has just begun,


54 There's something solid forming in the air,

The wall of death is lowered in Times Square. 1 & 2 1 2

55 No-one seems to care,

They carry on as if nothing was there. 3 & 4 1 2

77 The cheerleader waves her cyanide wand, there's a smell of

peach blossom and bitter almonde. 8 & 9 2 2

80 Caryl Chessman sniffs the air and leads the parade, he know in a scent,

you can bottle all you made.

10 &

11 2 2

89 The only sound is water drops, I wonder where the hell I am,


120 Stalactites, stalagmites 1 3 4

122 Shut me in, lock me tight. 2 3 4

124 Lips are dry, throat is dry. 3 3 4

127 Feel like burning, stomach churning, 4 3 4

130 Feel like burning, stomach churning, I'm dressed up in a white costume

Padding out leftover room.

4 - 6 3 4

133 Body stretching, feel the wretching 7 3 4

138 Outside the cage I see my Brother John, He turns his head so slowly round.

1 & 2 5 4

154 Pressures building, can't take any more. 7 6 4

172 Stamped, addressed, in odd fatality. 3 2 5

193 I'm the pitcher in the chain gang, we don't believe in pain 5 1 6

197 Let me out of Pontiac when I was just seventeen,


203 I don't care who I hurt, I don't care who I do wrong. 3 2 6

204 This is your mess I'm stuck in, I really don't belong. 4 2 6

215 You're sitting in your comfort you don't believe I'm real, 1 4 6



233


for this testing,


2 - 4 2 7

242 And I have studied every line, every page in the book, 5 3 7

244 And now I've got the real thing here, I'm gonna take a look, take a look. 6 3 7

248

-still counting out time, got my finger on the button,

'Don't say nuttin-just lie there still

And I'll get you turned on just fine.'

3 - 5 5 7

261

I'm counting out time, reaction none to happy,

Please don't slap me,

I'm a red blooded male and the book said I could not fail.

1 - 3 7 7

264 I'm counting out time, I got unexpected distress from my mistress,

I'll get my money back from the bookstore right away. 4 & 5 7 7

304 The rich man stands in front of me,


315

I'd rather trust a countryman than a townman,

You can judge by his eyes, take a look if you can,

He'll smile through his guard, Survival trains hard.

1 - 4 3 9

316

I'd rather trust a man who works with his hands, He looks at you once, you know he understands,

Don't need any shield,

When you're out in the field.

5 - 8 3 9

318

And every single door, that I've walked through

Brings me back here again,

I've got to find my own way.

4 - 6 4 9

322 My father to the left of me,


327 I'd rather trust a man who doesn't shout what he's found,


342 So I followed her into a big round cave, she said 'They're coming

for you, now don't be afraid.' 4 & 5 3 10

349 She leaves me in my darkness,

I have to face my fear, 1 & 2 5 10

351 And the darkness closes in on me,

I can hear a whirring sound growling near. 3 & 4 5 10

355

All the pumping's nearly over for my sweet heart,

This is the one for me, Time to meet the chef,

O boy! running man is out of death.

1 - 4 1 11

360 's back to ash, now, you've had your flash boy 6 1 11

362

The rocks, in time, compress your blood to oil,

your flesh to coal,

enrich the soil,


7 - 11 1 11

372 I feel the pull on the rope, let me off at the rainbow. 1 3 11

374 Not me, just quietly buried in stones,

Keep the deadline open with my maker! 4 & 5 3 11

380 The scent grows richer, he knows he must be near,




399 Putting fear beside him, he trusts in beauty blind,


407 As they nibble the fruit of my flesh, I feel no pain,


417 Looking for motion I know I will not find,


420 Looking behind me, the water turns icy blue,

The lights are dimmed and once again the stage is set for you. 1 & 2 8 12

432



My hopes keep on dipping And his lips keep on smiling all the time.

5 - 8 3 13,

a)

436 You better watch it son, your sentence has only just begun

You better run and join your brother John.' 1 & 2 6

13,

a)

456 He flies right down, gives me one hell of a fright. 2 2 13,

c)

461 I need you now, you going to come?' 2 3 13,

c)

469 The chase is on, the pace is hot 3 7 13,

c)

473 I'm on top of a bank, to steep to climb, 9 7 13,

c)

485 Within the raging water, writhes the form

Of brother John, he cries for help. 3 & 4 2 14

490 But John is drowning, I must decide 2 3 14

503

Moving down the water John is drifting out of sight,

It's only at the turning point

That you find out how to fight.

1 - 4 1 16

510 And I'm spiralled down the river bed,

My fire is burning low. 3 & 4 3 16

515 Something's changed, that's not your face. 5 5 16

523





7 - 10 1 17

528


it is in the single's bar, in the distance of the face, it is in between the cages, it is always in a space


2 - 5 2 17

534 When you eat right fruit you see everything alive,


Table A.3.3 Data of Alliterations

Number

of Data Data

Line

(s) Stanza

Song

No.

1 And the lamb lies down on Broadway. 1 1 1

3 Early morning Manhattan 1 2 1

13 There's something moving in the sidewalk steam, 9 2 1


16 Nightime's flyers feel their pains. 1 3 1

19 Metal motion comes in bursts 3 3 1

20 But the gas station can quench that thirst. 4 3 1


28 Yet the Broadway street scene finds a focus in its face 2 4 1


34 Though man-made light, at night is very bright 5 4 1


44 Wonder women draw your blind! 5 5 1


51 There's something solid forming in the air, 1 1 2

59 And I'm hovering like a fly, waiting for the windshield on the freeway. 9 1 2

62 With her mythical madonnas still walking in their shades: 2 2 2

67 Marshall McLuhan, casual viewin', head buried in the sand. 4 2 2

74 Klu Klux Klan serve hot soul food and the band plays 'In the Mood' 7 2 2

90 The only sound is water drops, I wonder where the hell I am, 3 1 3

91 Cuckoo Cocoon have I come to, too soon for you? 5 1 3



108 Must tell myself that I'm not here. 10 1 4


174 With profit potential marked by a sign, 5 2 5

236 Without you, what would a poor boy do? 6 2 7



272 A salamander scurries into flame to be destroyed. 3 1 8

280 'We've got to get in to get out 6 & 7 2 8

284 Like the forest fight for sunlight, that takes root in every tree. 3 3 8


290 Mild mannered supermen are held in kryptonite, 1 4 8

295 The carpet crawlers heed their callers: 5 5 8


312 I'd rather trust a man who works with his hands, 5 3 9

335 Lilywhite Lilith, 1 2 10


341 She said 'Let me feel the way the breezes blow, and I'll show 2 3 10



353 Two golden globes float into the room 7 5 10

382 From familiar fragrance to flavours strange. 4 1 12

393 Three vermilion snakes of female face, 3 4 12

395 Muted melodies fill the echoing hall, 5 4 12

400 Putting fear beside him, he trusts in beauty blind, 1 5 12

412 Silent sorrow in empty boats. 2 7 12

414 A sickly sourness fills the room, 3 7 12

439 There's no who? why? what? or when? 2 1 13,

b)

441 To see, Doktor Dyper, reformed sniper- 2 2 13,

b)

446 'Don't delay, dock the dick!' 1 5 13,

b)

447 I watch his countdown timer tick...... 2 5 13,

b)

452 Suddenly, black cloud comes down from the sky. 5 1 13,

c)

453 It's a supersize black bird that sure can fly. 6 1 13,

c)

459 Man, I've got to find out where that black bird lands. 4 2 13,

c)

477 Subway sounds, the sounds of complaint 5 1 14

481 And the light dies down on Broadway. 12 1 14

483 He hears a scream from far below. 2 2 14

484 Within the raging water, writhes the form 3 2 14

494 And the light dies down on Broadway. 8 3 14

497 I begin to try to ride the scree 3 1 15

Table A.3.4 Data of Internal Rhymes

Number


Song

No.

8 Sleeping cheaply on the midnight show, 5 2 1

12 There's something moving in the sidewalk steam, 9 2 1

35 Though man-made light, at night is very bright, 5 4 1

39 Thinks money-honey-be on-neon. 2 5 1

40 Thinks money-honey-be on-neon. 2 5 1

48 They say the lights are always bright on Broadway. 12 5 1

49 They say there's always magic in the air. 13 5 1



65 Lenny Bruce, declares a truce and plays his other hand. 3 2 2

68 Marshall McLuhan, casual viewin', head buried in the sand. 4 2 2

70 Sirens on the rooftops wailing, but there's no ship sailing. 5 2 2

72 Groucho, with his movies trailing, stands alone with his punchline failing. 6 2 2

75 Klu Klux Klan serve hot soul food and the band plays 'In the Mood' 7 2 2

83 There's Howard Hughes in blue suede shoes, smiling at the majorettes 12 2 2


126 Feel like burning, stomach churning, 4 3 4

132 Body stretching, feel the wretching 7 3 4

146 In a trap, feel a strap 1 6 4

149 Holding still. Pinned for kill. 2 6 4

187 I see faces and traces of home back in New York City- 1 1 6

190 The call me the trail blazer-Rael-electric razor. 4 1 6

192 I'm the pitcher in the chain gang, we don't believe in pain 5 1 6

228 I'm counting out time, 1 1 7



262 I'm a red blooded male and the book said I could not fail. 3 7 7


265 I'm counting out time, I got unexpected distress from my mistress, 4 7 7

274 The fleas cling to the golden fleece, 5 1 8

277 The crawlers cover the floor in the red ochre corridor. 1 2 8





330 I could only just hear, a voice quite near say, 'Please help me 2 1 10

331 'Said if I helped her thru' she could help me too, but I could 4 1 10

340 She said 'Let me feel the way the breezes blow, and I'll show 2 3 10

354 And a blaze of white light fills the air. 8 5 10

358 Feel cold and old, it's getting hard to catch my breath. 5 1 11

359 's back to ash, now, you've had your flash boy 6 1 11

378 She's very rarely late.' 11 3 11

392 Three vermilion snakes of female face, 3 4 12

419 It is the scent of garlic that lingers on my chocolate fingers. 8 7 12

443 To face the Doktor and his marble table. 2 3 13,

b)

444 Understand Rael, it's the end of your tail. 1 4 13,

b)


c)

468 The chase is on, the pace is hot 3 7 13,

c)

499 I've got to ditch my fear - take a dive 2 2 15

500 While I've still got my drive to survive. 3 2 15

501 Evel Knievel you got nothing on me. 1 3 15

526 it never stays in one place, but it's not a passing phase, 2 2 17

531 it is the hope for the dope. 5 3 17

Table A.3.5 Data of Ellipses

Number


Song

No.

109 Must tell myself that I'm not here. 10 1 4

128 Feel like burning 4 3 4

129 stomach churning, 4 3 4

147 In a trap, feel a strap 1 6 4

150 Chances narrow that I'll make it, 3 6 4

155 Pressures building 7 6 4

156 can't take any more. 7 6 4

168 Must be doing well with trade. 2 2 5


208 He said I had none to blame, but me. 2 3 6

209 Time to shave, shave it off, it off. 4 3 6

212 No time for romantic escape, 5 3 6

224 He said I had none to blame, but me. 2 5 6


229 Got the whole thing down by numbers. 2 1 7

238 Thought I'd better get it straight. 2 3 7

239 Went to buy a book before it's too late. 3 3 7

249 -still counting out time, 3 5 7

250 got my finger on the button, 3 5 7

254 Touch and go with 1-6. 1 6 7

256 Bit of trouble in zone No. 7. 2 6 7

257 Gotta remember all of my tricks. 3 6 7

303 The rich man stands in front of me, The poor man behind my back.

5 & 6 1 9



319 The priest and the magician,

Singing all the chants that they have ever heard; 1 & 2 5 9

321 Even academics, searching printed word. 4 5 9

323 My father to the left of me, My mother to the right,

1 & 2 6 9

332 'Said if I helped her thru' she could help me too, but I could 4 1 10

356 Time to meet the chef, 3 1 11

361 's back to ash 6 1 11

368 not everybody's goal. 11 1 11

375 Not me, just quietly buried in stones, 4 3 11

462 I need you now, you going to come?' 2 3 13,

c)

505 In the cold, feel the cold 5 1 16

Table A.3.6 Data of Parallelisms

Number


Song

No.

66 Lenny Bruce, declares a truce and plays his other hand. 3 2 2

79 Caryl Chessman sniffs the air and leads the parade 10 2 2

82 There's Howard Hughes in blue suede shoes, smiling at the majorettes


12 &

13 2 2


123 Shut me in, lock me tight. 2 3 4


234


for this testing,


2 - 4 2 7

243 And I have studied every line, every page in the book, 5 3 7

293 And the wise and foolish virgins giggle with their bodies glowing bright. 2 4 8

363


your blood to oil, your flesh to coal,

enrich the soil,

7 - 10 1 11



404 'With their tongues, they test, taste and judge all that is mine. 3 5 12

427 With nonchalant embracing,

Each orifice disgracing 2 & 3 2

13,

a)

437 You better run and join your brother John.' 2 6 13,

a)


c)

465 He walks away and leaves me once again. 1 6 13,

c)

474 I'm on top of a bank, to steep to climb, 9 7 13,

c)

488 The gate is fading now, but open wide, 1 3 14

493 He makes for the river and the gate is gone, 6 3 14

512 We hold together and shoot the rapids fast. 3 4 16

Table A.3.7 Data of Assonances

Number


Song

No.

7 Sleeping cheaply on the midnight show, 5 2 1

11 It seems they cannot leave their dream 8 2 1


84 There's Howard Hughes in blue suede shoes, smiling at the majorettes 12 2 2

87 Don't tell me I'm dying, 'cos I ain't changed that much. 2 1 3




101 And I can't keep me from creeping sleep, 4 1 4

102 Sleep, deep in the deep. 5 1 4

189 The call me the trail blazer-Rael-electric razor. 4 1 6

206 You can tell by the night fires where Rael has been, has been. 6 2 6



344 Then she sat me down on a cold stone throne, carved in jade. 6 3 10



Table A.3.8 Data of Anaphoras

Number


Song

No.



141 And he looks at me without a sound.

And I shout 'John please help me!' 4 & 5 5 4

144 And a silent tear of blood dribbles down his cheek,


202 I don't care who I hurt, I don't care who I do wrong. 3 2 6





240 And I have studied every line, every page in the book,


268 Without you, what would a poor boy do?

Without you, mankind handkinds thru' the blues. 7 & 8 7 7

275 There's no hiding in my memory.

There's no room to void. 8 & 9 1 8



366 your blood to oil,

your flesh to coal, 8 & 9 1 11

435 You better watch it son, your sentence has only just begun

You better run and join your brother John.' 1 & 2 6

13,

a)

517 it is here. it is now. 4 1 17

522




7 - 9 1 17

527


it never stays in one place, but it's not a passing phase, it is in the single's bar, in the distance of the face,



1 - 5 2 17

536 it is here. it is now

it is Real. it is Rael 5 & 6 4 17

Table A.3.9 Data of Conduplicatios

Number


Song

No.

56 The wind is blowing harder now, Blowing dust into my eyes.

5 & 6 1 2

57 Blowing dust into my eyes.

The dust settles on my skin, 6 & 7 1 2

103 And I can't keep me from creeping sleep, Sleep, deep in the deep.

4 & 5 1 4


pay my way, 4 & 5 6 5



231

Got the whole thing down by numbers.

All those numbers!

Give my guidance!

2 - 4 1 7

235 Erogenous zones I love you.


251 Erogenous zones I love you. Without you, what would a poor boy do?

6 & 7 5 7

266 Erogenous zones I love you.


307 I need someone to believe in, someone to trust. 1 & 2 1 9

308 I need someone to believe in, someone to trust. 1 & 2 1 9

478 Subway sounds, the sounds of complaint 5 1 14

Table A.3.10 Data of Epizeuxes

Number


Song

No.

85 with needles; needles and pins. 15 2 2

162 Keep on turning,

Keep on turning, 1 & 2 8 4

198 I had to get it out of me, if you know what I mean, what I mean. 8 1 6

200 You say I must be crazy, 'cos I don't care who I hit, who I hit. 1 2 6

207 You can tell by the night fires where Rael has been, has been. 6 2 6


223 When you're out walking the streets with your mainline connection?

connection. 8 4 6


245 And now I've got the real thing here, I'm gonna take a look, take a look. 6 3 7

258 'Honey get hip! It's time to unzip, to unzip. Whipee!' 6 6 7

278 They're moving. They're moving in time to a heavy wooden door, 3 2 8

508 Taken down, taken down 1 3 16

Table A.3.11 Data of Personifications

Number


Song

No.

17 Drugstore takes down the chains. 2 3 1

22 The trucker's eyes read 'Overload' 6 3 1

31 Yet the Broadway street scene finds a focus in its face. 2 4 1

41 Cabman's velvet glove sounds the horn 3 5 1



111 My distortion shows obsession 13 1 4

177 The hall runs like clockwork 1 4 5

282 Where the needle's eye is winking, closing in on the poor. 4 2 8

350 And the darkness closes in on me, 3 5 10

482 But as the skylight beckons him to leave, 1 2 14

Table A.3.12 Data of Polysyndetons

Number


Song

No.

24

And out on the subway,

Rael Imperial Aerosol Kid

Exits into daylight, spraygun hid,

And the lamb lies down on Broadway.

7 - 10 3 1

117


Brings a moment's relief, But my cynic soon returns


3 - 6 2 4

145 And a silent tear of blood dribbles down his cheek,


161 But outside John disappears and my cage dissolves, and without any reason my body revolves.

5 & 6 7 4



241 And I have studied every line, every page in the book, And now I've got the real thing here, I'm gonna take a look, take a look.

5 & 6 3 7


433


Cos his handshake keeps slipping, My hopes keep on dipping


5 - 8 3 13, a)

487

The gate is fading now, but open wide, But John is drowning, I must decide

Between the freedom I had in the rat-race,

Or to stay forever in this forsaken place;

1 - 4 3 14

514

And when the waters slow down

The dark and the deep

have no-one left to keep.

1 - 3 5 16

Table A.3.13 Data of Antitheses

Number


Song

No.

71 Sirens on the rooftops wailing, but there's no ship sailing. 5 2 2

116





3 - 6 2 4

160

If I could change to liquid,

I could fill the cracks up in the rock. But I know that I am solid


1 - 4 7 4


325 Like everyone else they'er pointing But nowhere feels quite right.

3 & 4 6 9

333 Said if I helped her thru' she could help me too, but I could

see that she was wholly blind. 4 & 5 1 10

405 That glide up and down my spine. 5 5 12

489 The gate is fading now, but open wide, 1 3 14

491 Between the freedom I had in the rat-race, Or to stay forever in this forsaken place;

3 & 4 3 14

519 Just a little bit of it can bring you up or down. 5 1 17

Table A.3.14 Data of Similes

Number


Song

No.

60 And I'm hovering like a fly, waiting for the windshield on the freeway. 9 1 2

100 I've got sunshine in my stomach

Like I just rocked my baby to sleep. 1 & 2 1 4

152 Just like 22nd Street, When they got me by my neck and feet.

5 & 6 6 4

178 The hall runs like clockwork 1 4 5

180 Empty in their fullness Like a frozen pantomime.

3 & 4 4 5

195 'cos we're only as strong, as the weakest link in the chain. 6 1 6

285 Like the forest fight for sunlight, that takes root in every tree. 3 3 8

423 I wandered lonely as a cloud, 1 1 13,

a)

429 His twisted limbs like rubber stamps 3 3 13,

a)

520 Like the supper it is cooking in your hometown. 6 1 17

Table A.3.15 Data of Paradoxes

Number


Song

No.

164 and as the notes and coins are taken out

I'm taken in, to the factory floor. 4 & 5 1 5

181 Empty in their fullness 3 4 5

194 'cos we're only as strong, as the weakest link in the chain. 6 1 6





408 As they nibble the fruit of my flesh, I feel no pain, 1 6 12

Table A.3.16 Data of Epistrophes

Number


Song

No.




14 & 15

1 4

125 Lips are dry, throat is dry. 3 3 4


8 & 9 3 4

157 In the pain

Get me out of this pain.

9 &

10 6 4

163 Turning around, spinning around.

3 & 4 8 4

230 Got the whole thing down by numbers.

All those numbers! 2 & 3 1 7

504 In the cold, feel the cold 5 1 16

Table A.3.17 Data of Synecdoches

Number


Song

No.

23 The trucker's eyes read 'Overload' 6 3 1

42 Cabman's velvet glove sounds the horn 3 5 1

313 I'd rather trust a man who works with his hands, 5 3 9

385 A magnificent chamber meets his eye. 5 1 12

Table A.3.18 Data of Metaphors

Number


Song

No.







Table A.3.19

Data of Hyperbatons

Number


Song

No.

384 From familiar fragrance to flavours strange. 4 1 12

401 Putting fear beside him, he trusts in beauty blind, 1 5 12

418 'O Lamia, your flesh that remains I will take as my food' 7 7 12

Table A.3.20 Data of Appositions

Number


Song

No.

247 Look! I've found the hotspots, Figs 1-9. 2 5 7

424 I've never seen a stranger crowd; Slubberdegullions on a squeaky feet,

3 & 4 1 13, a)

Table A.3.21 Data of Parentheses

Number


Song

No.

73 Groucho, with his movies trailing, stands alone with his punchline failing. 6 2 2

364 The rocks, in time, compress

your blood to oil, 7 & 8 1 11

Table A.3.22 Data of Consonances

Number


Song

No.

403 'With their tongues, they test, taste and judge all that is mine. 3 5 12

537 it is Real. it is Rael 6 4 17

Table A.3.23 Data of Onomatopoeias

Number


Song

No.

425 Slubberdegullions on a squeaky feet, 4 1 13,

a)

448 I watch his countdown timer tick...... 2 5 13,

b)

Table A.3.24 Data of Irony, Eye Rhyme, Rhetorical Question, Polyptoton,

Chiasmus, Antimetabole, Oxymoron

Number

of Data Poetic Device Data Line Stanza

Song

No.

76 Irony Klu Klux Klan serve hot soul food 7 2 2


you can bottle all you made.

9 &

11 2 2

188 Rhetorical Question

So you think I'm a tough kid? Is that what you heard? 2 1 6


The wool is soft and warm,

1 &

2 1 8

370 Chiasmus From familiar fragrance to flavours strange. 4 1 11

383 Antimetabole Damn it all! does earth plug a hole in heaven, Or heaven plug a hole in the earth-'how wonderful to be so

profound,

5 & 6 2 12

396 Oxymoron Muted melodies fill the echoing hall, 5 4 12

Appendix IV

Gallery

The Lamb Album Front Cover

The Lamb Album Back Cover

The Lamb Album Inner Sleeve

Members of Gabriel-era Genesis

Left to Right: Peter Banks (Keyboard), Peter Gabriel (Vocal, Flute), Mike

Rutherford (Bass, Guitar), Steve Hackett (Guitar), Phil Collins (Drums)

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