Education of the republic of uzbekistan samarkand state institute of foreign languages

Rhyme Scheme:
The 1st stanza of the poem follows the rhyming pattern of AAAABCBC whereas the 2nd, 3rd and 4th stanzas follow the rhyming pattern of ABABCDCD.
The Tone of If:
Kipling has assumed a didactic tone all throughout the poem If, which is in keeping with the moral life lessons which he imparts through the poem. Usually, poems with a constant didactic strain run the risk of sounding too preachy. This is not the case with If since Kipling, by virtue of his brilliant poetic craftsmanship has managed to make his moralizing not only deeply motivating but also very poignant. There are occasions in the poem when his tone becomes quite lofty in lines such as – If you can dream – and not make dreams your master, If you can think – and not make thoughts your aim;/If you can meet with Triumph and Disaster/And treat those two impostors just the same. Then there are the lines when the tone of the poem is infused with sincere urgency which is ever so motivating- If you can force your heart and nerve and sinew
To serve your turn long after they are gone, /and so hold on when there is nothing in you/
Except the Will which says to them: “Hold on!”. There is also a hint of fatherly poignancy in the poet’s tone when he ends the poem saying – If you can fill the unforgiving minute/
With sixty seconds’ worth of distance run, /Yours is the Earth and everything that’s in it,
And – which is more – you’ll be a Man, my son! Hence, over all the tone of the poem is one which is suited to the gravity of the themes which comes to the fore through the poem.by certain communities, phonology is also applicable in comprehending literary work, particularly poetry. Poetry is known for its unique language patterns, as defined by Leech (1969:74) that ―poetic language may violate or deviate from the generally observed rules of the language in many different ways‖. This present paper is intended to present phonological features in poetry analysis: supra-segmental features (rhyme and meter) and segmental features (assonance, consonance, and alliteration). The choice of certain sound patterns in a poem reflects the poet’s intention in choosing such construction. Therefore, meaning interpretation which is based on the linguistic analyses can be attained, which is in line with Leech’s statement that the significance of a piece of language can be used to figure out meanings in reference to literature (1969: 40). Keywords: phonology, stylistics, poeer
As a branch of linguistics which observes how sounds form patterns, phonology is often conducted on certain communities speech production. Phonological rules can be figured out through the observation of sound changes, such as in assimilation and dissimilation. Studies on those two matters are commonly found in linguistic analyses. What is interesting in studying linguistics, to be particular in phonology, is the type of data to analyze. Instead of observing speech production by certain communities, phonology is also applicable in comprehending literary work, particularly poetry. Poetry is known for its unique language patterns, as defined by Leech (1969:4) that ―poetic language may violate or deviate from the generally observed rules of the language in many different ways‖. This present paper is intended to present phonological features in poetry analysis: supra-segmental features (rhyme and meter) and segmental features (assonance, consonance, and alliteration). The choice of certain sound patterns in a poem reflects the poet’s intention in choosing such construction. Therefore, meaning interpretation which is based on the linguistic analyses can be attained, which is in line with Leech’s statement that the significance of a piece of language can be used to figure out meanings in reference to literature (1969: 40). Keywords: phonology, stylistics,
As a branch of linguistics which observes how sounds form patterns, phonology is often conducted on certain communities speech production. Phonological rules can be figured out through the servation of sound changes, such as in assimilation and dissimilation. Studies on those two matters are commonly found in linguistic analyses. What is interesting in studying linguistics, to be particular in phonology, is the type of data to analyze. Instead of observing speech production by certain c
The paper intends to give a stylistic analysis of the poem ‘If’ by Rudyard Kipling on three fundamental levels: phonological, morphological, and pragmatical. The poem has been a source of inspiration for disheartened youth, and is a linguistic marvel because of its unique structure and style. The poem is written in a form of paternal advice to the poet’s son. The poet has employed several literary devices and techniques in the poem that have been stylistically analyzed. The findings of the study would help the readers in understanding the core principles and concepts of Stylistics that have been aesthetically employed by the poet in the poem ‘If’.
Introduction Stylistics is a branch of Applied Linguistics, and can be simply defined as the study of style in a text, and since style can be assumed in different ways, so there are several stylistic approaches to analyze a text; and this variety in Stylistics is due to the major influences of other branches of Linguistics and Literary Criticism (Katie, 1989) [4]. Initially, in Stylistics, only literary texts were analyzed, but around 1960s, the field of Stylistics was expanded, and non-literary texts started to be analyzed as well. In A Dictionary of Stylistics, Katie Wales (1989) [4] writes that the goal of Stylistics is simply to describe how a text is styled; but not simply to describe its formal features for their own sake, but to show their functional importance in the interpretation of the text, or to highlight their literary effects in the linguistic arena. The stylistic analysis provides the reader with a scientific and objective commentary on the linguistic features of a literary as well as non-literary text based on a concrete and quantifiable data processed in a systematic way. In this paper, the poem ‘If’ by Rudyard Kipling has been stylistically analyzed on three fundamental levels: phonological level, morphological level, and pragmatical level. ‘If’ is a poem about hope and determination grounded on the principles of Victorian-era Stoicism. It was first published in 1910 in Reward and Fairies, a collection of Kipling’s poems and short stories. In his biography, ‘Something of Myself’, Kipling has said that while writing this poem, he was inspired by Leander Starr Jameson. The poem is filled with immense motivation and ultimate inspiration that tells us how to deal with different and difficult circumstances in our life. Moreover, the poet constructs a whole philosophy of how to achieve our goals.

Rudyard Kipling’s “If” is perhaps his most famous poem. Kipling composed the poem in 1909 while living in Great Britain. It was first published in 1910 in Kipling’s collection

“If” attracted immediate nationwide attention in Britain, and it was quickly adopted as a popular anthem.
“If” is a didactic poem, a work meant to give instruction. In this case, “If” serves as an instruction in several specific traits of a good leader. Kipling offers this instruction not through listing specific characteristics, but by providing concrete illustrations of the complex actions a man should or should not take which would reflect these characteristics.
If Summary
Stanza 1
The first stanza of “If” illustrates the practice of self-confidence and expresses that, in being confident; the reader must have the courage to face unpopularity and disagreement. This stanza also, however, advises against a self-confidence that does not allow for the consideration of opposing ideas. In exhorting the reader to both ignore doubt and make allowance for doubt (lines 3 and 4), Kipling creates a paradox (the combination of mutually exclusive ideas that, while seemingly contradictory, serve to make a point in their contradiction) that is characteristic of the tone of the entire poem.
Line 5 advises patience, line 6 advises honesty, and line 7 advises fortitude of character. These three lines, along with the first four lines of the poem, share a common thread: they provide instruction in the maintenance of righteous behavior in the face of unrighteousness. However, in line 8, Kipling is quick to qualify his advice, telling the reader “yet don’t look too good, nor talk too wise.” That is, in behaving righteously, a person must avoid smugness.
The central idea of this poem is that success comes from self-control and a true sense of the values of things. In extremes lies danger. A man must not lose heart because of doubts or opposition, yet he must do his best to see the grounds for both. He must not be deceived into thinking either triumph or disaster final; he must use each wisely--and push on. In all things he must hold to the golden mean. If he does, he will own the world, and even better, for his personal reward he will attain the full stature of manhood.