A COMPARATIVE STYLISTIC ANALYSIS FROM THE

SELECTED SONGS “THE TORTURED POETS

DEPARTMENT” ALBUM BY TAYLOR SWIFT

A Scientific Writing
Submitted to the English Department,
Faculty of Letters and Cultures
Gunadarma University

Written by:
Name : Ghita Maharani Dhasumar Wekes
NPM : 10621140
Advisor : Novia Diah Lestari, S.S., M.Sas

FACULTY OF LETTERS AND CULTURES

GUNADARMA UNIVERSITY
JAKARTA
2024
 ABSTRACT

Ghita Maharani Dhasumar Wekes. A Comparative Stylistic Analysis From The

Selected Songs “THE TORTURED POETS DEPARTMENT” Album By
Taylor Swift. A Scientific Writing. English Department. Faculty of Letters and
Cultures. Gunadarma University. Jakarta. 2024.

Abstract

This research discussed about A Comparative Stylistic Analysis from The Selected
Songs “THE TORTURED POETS DEPARTMENT” Album by Taylor Swift which
aimed to enhance listeners comprehension of the meanings conveyed through
songs with stylistic elements, focusing on Taylor Swift’s music. Utilizing a
descriptive qualitative method, this investigation analyzes song lyrics from Taylor
Swift’s album, THE TORTURED POETS DEPARTMENT. The analysis draws on
Prof. Dr. Guntur Tarigan’s book, Pengajaran Gaya Bahasa, focusing on ten types
of figures of speech in comparative stylistic. The researcher identified 35
instances of comparative stylistic devices in five selected songs: Guilty as Sin,
Who’s Afraid of Little Old Me, The prophecy, loml, and I Can Do It With a
Broken Heart. This research found there are 5 out of 10 types of comparative
stylistic that were applied in 5 selected songs in the TORTURED POETS
DEPARTMENT album by Taylor Swift. The study reveals that metaphors make
up the majority at 54%, with similes accounting for 17%, personifications at 14%,
antithesis at 12%, and pleonasms at 3%. Specifically, 19 metaphors, 6 similes, 5
personifications, 4 antithesis, and 1 pleonasm were identified. Taylor Swift
extensively uses metaphorical expressions to impart deeper insights and convey
messages about historical and current circumstances. These metaphors facilitate
numerous comparisons, allowing the audience to derive diverse interpretations
and conclusions, including the notion of an ‘open ending’ cycle, which invites a
wide range of personal reflections. This prevalent use of comparative stylistic
highlights Swift’s skill in captivating her listeners through rich and intricate
lyrical narratives.

Keywords: Comparative Stylistic, song, lyrics

i
 PAGE OF APPROVAL

This Research Paper has been accepted as A Scientific Writing to be approved and

defended in front of the Board of Examiners of English Department, Faculty of

Letters and Cultures.

Gunadarma University

(23 Juli 2024)

Board of Examiners

No. Name

1.

2.

3.

Approved by:

Head of English Department Advisor

(Dr. Rita Sutjiati Djohan,M.Pd) (Novia Diah Lestari, S.S., M.Sas )

Head of Scientific Report Administration Bureau

ii
 (Fettiana Gianadevi, S.Kom., MMSI)

CURRICULUM VITAE

Name : Ghita Maharani Dhasumar Wekes

Place/Date of Birth : Surabaya, June 7th 2003

Religion : Islam

Address : Grand Depok City, Alamanda Timur Blok

B7/1 Kec. Cilodong Kel. Kalimulya Kota
Depok

Telephone : 081266223992

Educational Background:

1. SD Cakra Buana, 2015

2. SMPN 3 Depok, 2018

3. SMAN 1 Pomalaa, 2021

4. Registered as a student at Gunadarma University, Faculty of Letters and

Cultures Majoring English Department in 2021

iii
 DECLARATION OF ORIGINALITY

I declare that this Scientific Writing is the product of my own work, that it
has not been submitted before for any degree or examination in any other
university, and that all the sources I have used or quoted have been indicated and
acknowledged as complete references.

Depok, 22nd April 2024

Ghita Maharani Dhasumar Wekes

iv
 DEDICATION

This Scientific Writing is lovingly dedicated to my mother, Capt. Sumarni,

who instilled in me in the strength to face a world rife with skepticism. She taught
me that our faith should only reside in God and in ourselves. I extend my heartfelt
gratitude to Cheisya Darma La’biran, Wulansari, and Mami Erni, who have been
fortified me in Christ, steadfast in their belief in God’s palpable strength and
blessings. A special thanks to Anthony Young, who has been the first in all things
joyful that have occurred, for the cherished memories we’ve shared, and for the
love we’ve experienced.

v
 ACKNOWLEDGEMENTS

All praise to God, The Most Gracious and The Most Merciful, for the love,
guidance, and strength in completing this research report, and peace and
blessings upon Him. The writer also wishes to express her gratitude to:

1. Prof. Dr. E.S.Margianti, S.E, M.M. as the Rector of Gunadarma University.

2. Dr. Dr. Ichwan Suyudi, MM, as the Dean of Faculty of Letters, Gunadarma
University.
3. Dr. Rita Sutjiati Djohan, M.Pd. as the Head of English Department of Faculty
of Letters Gunadarma University.
4. Fettiana Gianadevi, S.Kom., M.MSI. as the head of Scientific Report
Administration Bureau for helping to simplify our research process.
5. Novia Diah Lestari, S.S., M.Sas. as the advisor who has guided the researcher
throughout the entire process and offered valuable suggestions and directions for
this research.
6. My Mother, Capt. Sumarni who always taught me how to not depend on those
who I love, even my own parents. Thank you for teaching me how to stand on my
own feet. Thank you for all the hidden truths.
7. Cheisya Darma La’biran Thank you for being the only one person that knows
how loud I cried and how lifeless I felt at that port. Thank you for always being
there whenever I thought that I wasn’t enough. We truly know each other, how we
fight, how we survive, and how we support each other. Thank you for always
being there, especially when I felt down on my knees.
8. Anthony Young The writer would like to say thank you for teaching her to love
herself and to be her home, especially for being the first person who knows the
writer’s dark side, who truly she is. Thank you for always trying to fix what was
broken. She believes to through this hard situation together and to realizing all the
dreams that are hoped for, with or without each other.

The Researcher

vi
 TABLE OF CONTENTS

FACULTY OF LETTERS AND CULTURES GUNADARMA UNIVERSITY

...................................................................................................................................i
JAKARTA...............................................................................................................i
2024...........................................................................................................................i
ABSTRACT..............................................................................................................i
PAGE OF APPROVAL...........................................................................................ii
CURRICULUM VITAE.........................................................................................iii
DECLARATION OF ORIGINALITY...................................................................iv
DEDICATION.........................................................................................................v
ACKNOWLEDGEMENTS....................................................................................vi
TABLE OF CONTENTS.......................................................................................vii
CHAPTER 1............................................................................................................1
INTRODUCTION...................................................................................................1
1.1 Background of the Research...........................................................................1
1.2 Previous Research..........................................................................................3
1.3 Position of The Research................................................................................5
1.4 The Scope of The Research............................................................................6
1.5 Problem Formulation......................................................................................6
1.6 Objective of The Research.............................................................................7
1.7 Significance of The Research.........................................................................7
CHAPTER 2............................................................................................................8
THEORETICAL REVIEW......................................................................................8
2.1 Song Lyrics.....................................................................................................8
2.2 Definition of Semantic...................................................................................9
2.3 Definition of Stylistic...................................................................................10
2.4 Comparative Stylistic...................................................................................12
CHAPTER 3..........................................................................................................15
RESEARCH METHOD.........................................................................................15
3.1 Research Design...........................................................................................15
3.2 Source of Data and Data...............................................................................16

vii
 3.3 Technique of Collecting Data.......................................................................16
3.4 Technique of Analyzing Data.......................................................................17
CHAPTER 4..........................................................................................................19
RESULT OF THE RESEARCH............................................................................19
4.1 Result............................................................................................................19
4.2 Discussion....................................................................................................23
CHAPTER 5..........................................................................................................37
CONCLUSION AND SUGGESTION..................................................................37
5.1 Conclusion....................................................................................................37
5.2 Suggestion....................................................................................................37
REFERENCES.......................................................................................................39
APPENDICES.......................................................................................................39

viii
 CHAPTER 1

INTRODUCTION

1.1 Background of the Research

In human life, language functions as a crucial tool for communication. The

majority of people depend on language to communicate, interact, and gather

information from others, enabling the conveyance of emotions, ideas, thoughts,

and imagination through speech or writing. Within literary creations, human

thought, ideas, comprehension, and emotional responses regarding the essence of

life find expression through imaginative and emotive language. The written form

of language is evident in novels, newspapers, poems, and magazines, whereas the

spoken form is present in songs, speeches, and conversations. According to the

widely accepted theory of semantics, the study of meaning involves exploring

ideas or concepts that can be conveyed from the speaker’s mind to the listener’s

mind by expressing them through language (Chomsky, 1965, pp. 77-86). This

process involves embodying these meanings in various linguistic forms (Lyons,

1984, p. 136) Semantic studies encompass both literal and non-literal meanings.

Literal meaning stands in contrast non-literal meaning, referring to expressions

that convey natural, straightforward significance without additional connotations.

Stylistics is a branch of applied linguistics, delves into the examination of

writing styles, primarily focusing on literary compositions (Nordquist, 2020, pp.

35-37). Authors employ stylistics as a rhetorical tool, harnessing and manipulating

the potential of language to convey their messages effectively. Stylistic elements

are present in both everyday life and various forms of literature, such as novels,
poems, and song lyrics. When interpreting stylistic expressions, individuals

employ their imagination to discern the intended meaning behind them.

Understanding figures of speech is crucial for grasping the message conveyed in

song lyrics. Through lyrical analysis, specific values expressed through language,

including the use of stylistic devices, can be identified. Furthermore, the analysis

of stylistics involves scrutinizing unique language styles in order to discern the

meaning or message conveyed within texts. It requires a thorough examination of

texts to pinpoint the particular styles utilized. After recognizing the styles, it is

essential to have a firm understanding of them in order to infer the meaning or

interpret any concealed meanings (Baroudi, 2021, p. 27).

Taylor Swift, a celebrated American singer-songwriter, actress, and

philanthropist, has achieved remarkable success in the music industry. She is

known for her captivating storytelling, relatable lyrics, and versatile musical style.

Her eleventh studio album, title THE TORTURED POETS DEPARTMENT

delivered her acceptance speech after winning the award for the 13th time.

The title track, THE TORTURED POETS DEPARTMENT delves into the

complexities of a shattered relationship. Although there are thirty-one songs in

THE TORTURED POETS DEPARTMENT album, the writer will only analyze

five of them: Guilty as Sin, Who’s Afraid of Little Old Me, The Prophecy, loml,

and I Can Do It With a Broken Heart. These selected songs capture the raw

emotions experienced during heartbreak, portraying inner struggle and intense

feelings and also . Taylor Swift, akin to a tormented poet, masterfully conveys

these emotions through her lyrical content of her songs is often poetic, offering

ample opportunities for the delve into the comparative stylistic aspects present in
Taylor Swift’s song lyrics through an analytical approach. Taylor Swift also has a

distinctive and creative writing style. Comparative stylistic analysis can show how

Swift’s language style differs from or resembles her songs in other album within

the same or different genres.

In practical terms, the objective of this investigation has to enhance listeners

comprehension of the meaning conveyed through songs with stylistic elements.

The researcher anticipates that this study will provide valuable insights to listeners

who appreciate Taylor Swift’s music, enabling them to grasp the intended

messages more effectively. By gaining a deeper understanding of Taylor Swift’s

song lyrics, the hope is that this study will offer additional insights to those who

analyze her songs. Moreover, this study holds significance for students in the

semantic class, particularly those at Gunadarma University. It is envisioned that

this research will assist semantic class student in identifying and analyzing the

stylistic elements utilized in songs, as well as quantifying their frequency.

1.2 Previous Research

There are some previous researchers have explored similar topics, they are:

1. AN ANALYSIS OF FIGURATIVE LANGUAGE IN POETRY

ENTITLED MENDING WALL BY ROBERT FROST (2020). Rinda

Sonia, Universitas Islam Riau.

This study explores the figurative language in Robert Frost’s poem

Mending Wall. This research used descriptive qualitative method. This

research enhances student’s understanding of figurative language and its

analysis. The analysis employs Tjahyono’s framework for examining

figurative language in poetry, deemed suitable for this investigation. The

findings indicate that Mending Wall employs various figures of speech,

including tautology, metaphor, symbol, personification, contradiction,

repetition, rhetoric, and simile. Notably, Frost frequently utilizes symbols

and personification, with personification emerging as the most prevalent,

accounting for 4 out of 19 instances in the data classification.

2. COMPARATIVE STYLISTIC ANALYSIS ON COLDPLAY’S

SONG LYRIC (2020). Norman Hadi, State Islamic Institute of

Palangkaraya.

The aim of this study was to investigate the comparative stylistic

elements in Coldplay’s song lyrics. Utilizing Kennedy’s theoretical

framework, this research seeks to interpret and analyze these stylistic

features, particularly focusing on comparative stylistics. A methodology,

was employed to examine the meanings embedded within Coldplay’s

lyrics. The findings revealed that allegory was the most frequently

identified stylistic element, with 16 instances, while simile was the least

common, with 4 instances. Additionally, 9 instances of metaphor, 7 of

personification, and 5 of antithesis were identified. The chosen Coldplay

lyrics weren’t solely about love; they also conveyed life motivation

through beautiful language.

 3. Figurative Languages in Novel: A Comparative Study between Layla

Majnun and Romeo and Juliet Novels (2021). Fachri Yunanda,

Prima Indonesia University.

This study aims to delineate various types of figurative language in

the novel Layla Majnun and Romeo Juliet, and to compare the usage of

figurative language between the two novels. Qualitative data was gathered

for this analysis, comprising figurative languages found in the novels

discourse and dialogues, which were interpreted using Pragmatic theory to

unveil their meanings. The findings reveal both similarities and differences

in the employment of figurative language across the two novels.

Similarities include Personification, Metaphor, Hyperbole, and Simile,

while differences encompass Parable, Embodiment, Cynicism, Repetition,

and Irony. These nuanced expressions enhance the literary experience,

allowing readers to delve deeper into the emotions and themes woven into

these timeless narratives.

1.3 Position of The Research

The first foundational study by Rinda Sonia An Analysis of Figurative

Language in the Poem Mending Wall by Robert Frost, shares similarities with the

current research in utilizing a stylistic analysis approach and qualitative methods

for data collection and analysis. However, there are notable differences in focus

and objectives. While Rinda Sonia aimed to examine the prominent stylistic

elements within Mending Wall poems, the present research extends the analysis to
five selected songs from Taylor Swift’s album THE TORTURED POETS

DEPARTMENT.

The second initial study carried out by Norman Hadi tittled “Comparative

Stylistic Analysis on Coldplay’s Song Lyrics” has similarities with the

researcher’s study such as focusing on Comparative Stylistic using descriptive

qualitative methodology. The disparity lies in the choice of research subjects.

Norman Hadi examined Coldplay’s songs, whereas the researcher analyzed

selected songs from Taylor Swift’s THE TORTURED POETS DEPARTMENT

album.

The third initial study carried out by Fachri Yunanda titled “Figurative

Language in Novel: A Comparative Study between Layla Majnun and Romeo

Juliet Novels” has similarities with the researcher that the aims of this study to

delineate the various types of figurative language. The distinctions lie in both the

chosen subject and the theoretical frameworks utilized. Fachri Yunanda examined

Layla Majnun and Romeo Juliet Novels employing pragmatic theory, whereas the

researcher analyzed selected songs from Taylor Swift’s THE TORTURED POETS

DEPARTMENT album, employing Guntur Tarigan’s theory.

1.4 The Scope of The Research

To aid the research in analyzing the research findings, this study solely

concentrates on Stylistic Elements, particularly Comparative Stylistic elements

from figurative language found in five selected songs from Taylor Swift’s THE

TORTURED POETS DEPARTMENT album. These songs include Guilty as Sin,

Who’s Afraid of Little Old Me, The Prophecy, loml, and I Can Do It With a

Broken Heart.

1.5 Problem Formulation

The research questions are formulated as follows:

1. What Comparative Stylistic Elements are present in the lyrics of selected

songs from Taylor Swift’s THE TORTURED POETS DEPARTMENT

album?

2. How are the meanings of Comparative Stylistic elements employed in the

lyrics of selected songs from Taylor Swift’s THE TORTURED POETS

DEPARTMENT album?

1.6 Objective of The Research

The aims of the study are follows:

1. To identify the presence of Comparative Stylistic Elements in selected

songs from Taylor Swift’s THE TORTURED POETS DEPARTMENT

album.

2. To examine the meanings of Comparative Stylistic elements used in

selected songs from Taylor Swift’s THE TORTURED POETS

DEPARTMENT album.

1.7 Significance of The Research

Practically, this study aims to improve listener’s comprehension of meanings

conveyed through songs with stylistic elements. The researcher expects that this
study will provide valuable insights for fans of Taylor Swift’s music, enabling

them to understand her intended messages more effectively. By gaining a deeper

understanding of her lyrics, the study aims to offer additional insights to those

who analyze her songs. This research is particularly significant for students in the

semantics class at Gunadarma University, helping them identify, analyze, and

quantify stylistic elements in songs. Additionally, it may introduce students to

new stylistic elements in Taylor Swift’s lyrics. Ultimately, the findings of this

study are intended to benefit future researchers in their work.

 CHAPTER 2

THEORETICAL REVIEW

2.1 Song Lyrics

In his work Kamus Musik (2003), (Banoe, 2003) asserts that music

represents an artistic discipline that explores and systematizes diverse sounds into

patterns that are understandable and meaningful to humans. Additionally, music

encompasses the intricate interplay of musical components and structures,

including melody, rhythm, harmony, and dynamics.

According to (Awe, 2005, p. 51) Vocal style, language style, and

deviations from word meanings are techniques used in creating song lyrics. In

addition, musical notation and melodies tailored to the lyrics are employed to

strengthen the message, enhancing the listener’s connection with the author’s

thought.

A song is a literary artwork that contains personal feelings expressed

through poetry, while another aspect involves the arrangement of the music itself

(Moeliono A. M., 1998, p. 678)

From the definitions given earlier, it can be concluded that lyrics have dual

meanings: one as a poetry and the other as song. Lyrics go beyond simple

sentences; they give meaning and interpretation through their varied meanings and

sounds.
 Additionally, lyrics can express someone’s experiences shaped by the

language used to communicate between the lyricist and society. Thus, lyric play a

vital role in communicating the story of a song to the audience.

2.2 Definition of Semantic

According to (Palmer F. R., 1981, p. 1), semantics is the precise term

employed to describe the study of meaning. Furthermore, semantics remain

centered on uncovering the true significance of words, phrases, and sentences

within language. The meaning of phrases and sentences depends on both the

meanings of their constituent words and their overall structure. When analyzing

language, we categorize linguistic expressions into two classes: literal meaning

and non-literal meaning. Expressions falling into the latter category are commonly

referred to as figurative expressions.

Semantics, as noted by (Leech, 1983, p. 9), holds a central position in the

analysis of communication. With communication emerging as increasingly crucial

in social structures, the need to understand it becomes more urgent. Semantics is

also essential in the study of the cognitive processes of the human mind, including

thought and conceptualization.

(Chaer, 2009, p. 2) posits that semantics is a linguistic study that focuses on

the meaning within language. By examining language through the lens of

semantics, we can analyze the meanings inherent in language with precision.

Similarly, in literature, through semantics, we can study and analyze the meanings

embedded in poetry and song lyrics.

 From the various definitions presented earlier, one can deduce that

semantics involves the grammatical and philosophical exploration of meaning in

language, programming languages, formal logics, and semiotics. It delves into the

connections between signifiers like words, phrases, signs, and symbols, and their

real-word referents.

When analyzing the significance in song lyrics there are four distinct types

of meaning found within the semantic domain. These four categories of meaning

include:

1. Lexical significance, often denoted as the dictionary meaning,

concerns the literal or tangible meaning in life.

2. Grammartical significance arises from the structural processes within a

word, such as affixation and other grammartical transformations.

3. Referential significance emerges from a word’s capacity to refer to

entities or concepts beyond the confines of language.

4. Figurative significance occurs when a word’s meaning departs from its

straightforward, literal interpretation.

2.3 Definition of Stylistic

Language serves as the conduit for transmitting messages, bridging the

gap between individuals and their shared understanding. In contrast, literature

weaves these messages into a tapestry of beauty, employing eloquence and artistry

to evoke emotions and provoke thought. As such, language and literature

intertwine, their symbiotic relationship shaping our cultural expression and

intellectual exploration. Within the realm of literary analysis, we delve into the
intricate nuances of language usage, a discipline known as stylistics. The field

delves beyond mere grammar and syntax, exploring the subtle shifts in tone,

imagery, and rhetorical devices that elevate prose and poetry alike.

(Davies & Elder, 2004, p. 294) expounds upon the multifaced realm of

Language Style, revealing its intricate layers akin to a tapestry woven with

rhetorical threads. Within this lexicon of expression, it assumes various guises:

the figurative dance of speech, the eloquent rhetoric, and the metaphoric

symphony of language.

In his work, (M.H, 1999, p. 96) contends that language style represents a

deliberate deviation from the conventional understanding of words or the typical

word order. This departure serves the purpose of creating a distinct and impactful

meaning. Abrams also posits that stylistic encompasses the deliberate choices an

author makes regarding language pronunciation in prose. It involves how an

author artfully expresses their ideas, ensuring that they are effectively presented.

Stylistic elements include lexical, grammatical, rhetorical, and cohesive

components. According to (Gorys Keraf, Diksi dan Gaya Bahasa (Composition

and Style), 2009, p. 112), rhetoric is considered an art, whether oral or written,

based on well-structured knowledge. Rhetoric involves the use of all elements of

language, including the choice of words, phrases, sentence structures,

arrangement, and the use of figures of speech. It is the art of using language to

achieve aesthetic effect. It is achieved through the creative use of language, where

authors manipulate language as a tool to express their ideas (Nurgiyantoro, 2009,

p. 295)
 Based on the stylistic definitions above, we can understand that stylistics is

a branch of linguistics that focuses on exploring how language is used. Language

style refers to how an author expresses their thoughts and feelings through

language, using figures of speech to create vivid images and convey subtle

meanings. This use of language style affects not only the beauty of a text but also

reveals the author’s personal thoughts and feelings.

The exploration of stylistic remains intrinsically connected to language as

a whole, with a particular focus on literature. However, stylistic analysis needs to

be confined solely to literary contexts; it can extend to various languages beyond

the realm of literature. The purpose of literary analysis is to elucidate the intricate

interplay between language and its functions, as well as its underlying meanings.

In contrast, stylistic analysis seeks to supplant and subjectivity and impressionism

often employed by literary critics with a more objective and scientific approach to

studying literature.

2.4 Comparative Stylistic

To understand the types of comparative stylistic analysis that will be used

to analyze the selected songs The Tortured Poets Department Album by Taylor

Swift, the author will explain the meaning and types of comparative stylistic

based on Prof. Dr. Guntur Tarigan’s book Pengajaran Gaya Bahasa.

Comparative Stylistics is a part of Stylistic. It is language style that uses

words in the form of comparisons to enhance the impression on the reader or

listener. Comparative Stylistics compares two things and relates them based on

semantic meaning through processes like exaggeration and equivalence.

 According to Dr. Guntur Tarigan’s book Pengajaran Gaya Bahasa,

Comparative Stylistics is divided into ten types. These are:

1. Similes compare things that are not alike using words such as “than,” “as,”

“resembles,” “like,” “similar to,” or “seems” to express this type of

comparison.

2. Metaphor is used to compare things without using markers like similes.

While a simile uses conjunctions to connect two words, a metaphor

directly compares the two words without conjunctions.

3. Personification gives human-like qualities to inanimate objects. It is a

subtype of metaphors because it implicity compares two things. In

personification, the figurative comparison always take a human form, even

though the literal terms refer to non-animate objects.

4. Depersonification is the opposite of personification. Depersonification

attributes inanimate qualities to animate objects.

5. Allegory is a narrative or short story with a clear, symbolic meaning. It

expresses truths or generalizations about human existence through

fictional characters and actions, where the story has a hidden meaning.

6. Antithesis involves contrasting two opposite words in language.

7. Pleonasm are redundant words used in sentences. A sentence is considered

a pleonasm when the extra word is removed without changing the meaning

(Gorys Keraf, Argumentasi dan Narasi, 1985, p. 133).

8. Periphrases is similar to pleonasm, but periphrasis uses additional words

where one word could suffice.

9. Prolepsis is a figure of speech where the reaction to the main word occurs

before the main word itself.

10. Epanorthosis is a figure of speech that involves the empathic replacement

of a word phrase.
 CHAPTER 3

RESEARCH METHOD

This chapter includes Research Design, Source of Data and Data,

Technique of Collecting Data, Technique of Analyzing Data, and Data

endorsement.

3.1 Research Design

This study is designed as qualitative research aimed at analyzing song

lyrics. (Kusumah, 2010, p. 12) explains that qualitative research methods were

created in social sciences to help researchers explore social and cultural events

and behaviors in depth. Specifically, the research method applied is descriptive

qualitative, as the data consist of the text and lyrics of THE TORTURED POETS

DEPARTMENT album by Taylor Swift, which contain stylistic elements. The

descriptive technique addresses real-world problems by collecting, clarifying,

analyzing, and interpreting data (Rusyana, 1981). The writer decided to enhance

this approach with qualitative methods, which offer a structured framework for

gathering data from a variety of sources and techniques. Therefore, descriptive

qualitative research is the most suitable method for this study.

This research involves content analysis, which refers to examining the

content, specifically song lyrics in this case. Additionally, the data in this study

have not undergone statistical analysis. Descriptive analysis aims to describe the

actual procedures related to research methods.

3.2 Source of Data and Data

The source of data is the subject from which the data can be obtained. This

research uses THE TORTURED POETS DEPARTMENT album by Taylor Swift,

focusing on the song lyrics from five selected songs: Guilty as Sin, Who’s Afraid

of Little Old Me, The Prophecy, loml, and I Can Do It With a Broken Heart. These

lyrics include various figurative language expressions. However, the main focus

on analyzing four elements of stylistic figurative language, without further

analysis of other literary aspects. Apart from that, data is the raw material that

needs to be processed to gain information. In this research, the data used consists

of comparative stylistic from the lyrics of the five selected songs from THE

TORTURED POETS DEPARTMENT album by Taylor Swift.

3.3 Technique of Collecting Data

Data collection method is a systematic approach to gathering and

measuring information from various sources to obtain a complete and accurate

understanding of an area of interest. According to (Cresswell, 1998, p. 15), data

collection empowers individuals or organizations to respond to relevant inquiries,

assess outcomes, and forecast future probabilities and trends. The research utilized

library research to collect data and information. The researcher endeavored to

procedure data from various sources, including journals, theses, books, and other

related writings pertinent to the study’s topic. Additionally, the researcher utilized

the internet to support this study. Three methods where employed in this research

to collect data, as follows:

1. The researcher observed the songs from Taylor Swift’s THE TORTURED

POETS DEPARTMENT album by using a music player and listened to each

song in its entirety to transcribe the lyrics

2. Thoroughly review the lyrics on both Spotify and A-Zlyrics.com

3. The researcher performed transcription to acquire the song texts. During this

stage, the researcher carefully wrote down the lyrics to ensure accuracy and

understanding

3.4 Technique of Analyzing Data

Data analysis constitutes the most intricate stage of qualitative research. It is a

time-consuming and challenging process, as researchers often contend with data

from multiple sources that require thorough examination and interpretation.

According to (Donald Ary, 2009), analysis encompasses the tasks of condensing

and organizing data, synthesizing information, identifying significant patterns,

and determining what is of importance.

Thus, the study employs several steps to analyze the data collection, aiming to

answer the research questions and generate findings. These steps include:

4. The researcher categorized the gathered data into ten comparative stylistic

categories.

5. The researcher compiled sentences that contained comparative stylistic

elements and structured them into a table consisting of five columns: number,

comparative stylistic, song, title, stanza (defined as a group of lyric lines), and

the lyrics.

6. The researcher elucidated the meaning of lyrics that included comparative

stylistic elements using a semantic approach.

7. The researcher identified the most prevalent types of comparative stylistic

elements in the selected songs.

8. The researcher arrived at conclusions based on the analysis of the data.

 CHAPTER 4

RESULT OF THE RESEARCH

4.1 Result

The analysis uses the theory from Prof. Dr. Guntur Tarigan’s book,

Pengajaran Gaya Bahasa, focusing on ten types of figures of speech in

Comparative Stylistics. The researcher identified 35 instances of comparative

stylistic devices in five selected songs by Taylor Swift: Guilty as Sin, Who’s

Afraid of Little Old Me, The Prophecy, loml, and I Can Do It With a Broken

Heart. The most prevalent device was the metaphor, occurring 19 times

specifically, 54% across the songs. The metaphor occurred mostly in the song of

Guilty as Sin. Pleonasm was the least frequent stylistic device, with only 1

occurrence or 3% found in Who’s Afraid of Little Old Me. No instances of

depersonification, allegory, periphrases, prolepsis, or epanorthosis were identified

in the selected songs. The detailed results are as follows:

Table 4.1 Comparative Stylistic Found List on Taylor Swift's Song Lyrics

No. Comparative Stylistic Amount of Percentage

Data

1. Metaphor 19 54%

2. Simile 6 17%

3. Personification 5 14%

4. Antithesis 4 12%

5. Pleonasm 1 3%
 6. Depersonification 0 0%

7. Allegory 0 0%

8. Periphrases 0 0%

9. Prolepsis 0 0%

10. Epanorthesis 0 0%

4.2 Discussion

4.2.1 Metaphors

According to Dr. Guntur Tarigan’s book Pengajaran Gaya Bahasa,

metaphor is a figure of speech that compares things directly, without using

conjunctions like similes do. Similes, on the other hand, connect two words using

conjunctions to draw comparisons.

Datum 1

“Drownin’ in the Blue Nile”

(Source: Guilty as Sin – Taylor Swift)

Analysis:

The song lyric “Drownin’ in the Blue Nile,” is identified as a metaphor because it

uses symbolic language to convey the speaker’s emotional state rather than

describing a literal event. This interpretation is supported by the surrounding

lyrics, which describe receiving a song (“Downtown Lights”), feeling deep

boredom (“My boredom’s bone-deep”), and questioning their emotional responses

(“Am I allowed to cry?”). These lines collectively paint a picture of emotional

confinement and longing for relief, with “Downin’ in the Blue Nile” serving as a

powerful metaphor for the speaker’s intense, overwhelming feelings. The use of

“this cage was once just fine” further emphasizes the contrast between past

contentment and current distress, reinforcing the metaphorical drowning in

emotions.

Datum 2

“You wouldn’t last an hour in the asylum where they raised me”

(Source: Who’s Afraid of Little Old Me – Taylor Swift)

Analysis:

The lyric “You wouldn’t last an hour in the asylum where they raised me”

employs a metaphor to depict the speaker’s challenging upbringing as akin to

living in an asylum. In this context, “asylum” does not refer to a literal mental

institution. Instead, it metaphorically represents a harsh, chaotic, or challenging

environment in which the speaker grew up. This metaphor implies that the

environment in which the speaker was raised was extremely harsh and chaotic,

contributing to their resilience and strength. The surrounding lines further support

this metaphor. References to “sneak into my house, with all the cobwebs” suggest

neglect and decay, while “I’m always drunk on my own tears” indicates emotional

pain and sorrow. These lines paint a picture of a troubles and painful past,

reinforcing the metaphor of an asylum.

Datum 3
 Thought I caught lightning in a bottle

(Source: The Prophecy – Taylor Swift)

Analysis:

The metaphor “Caught lightning in a bottle” describes the fleeting capture of

something extraordinary and rare. It suggests that the speaker experienced a

moment of achieving something remarkable or having a breakthrough, only to see

it vanish quickly. This metaphor conveys feelings of disappointment and

frustration at losing something precious or significant, highlighting the fleeting

nature of such moments and the difficulty of sustaining them.

Datum 4

Who’s gonna stop us from waltzing back into rekindled flames

(Source: loml – Taylor Swift)

Analysis:

In the lyric “Who’s gonna stop us from waltzing back into rekindled flames,” the

lyric poses a rhetorical question: “Who’s gonna stop us from waltzing back into

rekindled flames if we know the steps anyway?” The writer employs a metaphor

by comparing “rekindled flames” to a graceful dance. The metaphor symbolizes

reigniting an old romance, evoking imagery associated with warmth, intensity,

and perhaps even danger. The act of “waltzing back” introduces the theme of

revisiting past love. The stanza sets the tone for the entire song, suggesting that

the speaker and their partner are contemplating rekindling their relationship. The

question implies defiance or determination, daring anyone or anything to prevent

their reunion. The mention of knowing the steps reinforces the idea that they’ve

been through this before. Connecting to the subsequent lines, where memories are

embroidered and the phrase “We were just kids, babe” reflects nostalgia, the lyrics

explore the tension between youthful innocence and passionate desire.

Datum 5

There in her glittering prime

(Source: I Can Do It With a Broken Heart – Taylor Swift)

Analysis:

The phrase “There in her glittering prime” uses a metaphor to describe a period of

peak allure and success in a woman’s life. This metaphor supported by the

subsequent lines, where the lights refract sequin stars off her silhouette every

night, enhancing the imagery of brightness and attractiveness. In this context, the

metaphor serves not only to illustrate the character’s celebrated phase but also to

hint at the complexity behind the façade. This duality is a common feature in

figurative language, providing depth and inviting readers to look beyond the

surface.

4.2.2 Simile

Dr. Guntur Tarigan’s book Pengajaran Gaya Bahasa states that similes

compare things that are differently by employing words such as “than,” “as,”

“resembles,” “like,” “similar to,” or “seems” to demonstrate how they alike.

Datum 6
 Buildin’ up like waves crashin’ over my grave

(Source: Guilty as Sin – Taylor Swift)

Analysis:

In the lyric “Buildin’ up like waves crashin’ over my grave,” employs a simile to

illustrate the speaker’s emotional intensity and turmoil. The comparison is

between the emotional buildup (Object A) and the force of waves crashing over a

grace (Object B). The phrase “building up” indicates a gradual accumulation of

emotions, suggesting an increasing state of anxiety, guilt, or despair. This

emotional state is likened to “waves crashing over my grave,” evoking imagery of

a powerful, relentless, and overwhelming force. The grave, typically associated

with peace and finality, being disturbed by crashing waves, symbolizes how the

speaker’s emotions are disrupting their sense of calm and rest.

Datum 7

Crash the party like a record scratch as I scream

(Source: Who’s Afraid of Little Old Me– Taylor Swift)

Analysis:

In the line “Crash the party like a record scratch as I scream,” a simile compares

the speaker’s disruptive arrival to the sudden and disruptive sound of a record

scratch. This comparison vividly illustrates the startling and attention-grabbing

manner in which the speaker enters, highlighting their intent to disrupt the usual

order of things. It implies a departure from the ordinary and a bold assertion of
their presence, emphasizing the impact and immediacy of their entrance into the

scene.

Datum 8

I got cursed like Eve got bitten

(Source: The Prophecy – Taylor Swift)

Analysis:

This line employs a simile to illustrate the speaker’s plight by likening it to the

biblical story of Eve’s temptation and subsequent punishment. The simile

underscores the gravity of the speaker’s situation by drawing a parallel to a

familiar narrative of consequences and suffering. It implies a feeling of unjust

punishment or enduring hardship akin to biblical retribution.

Datum 9

I felt aglow like this

(Source: loml – Taylor Swift)

Analysis:

In the lyric “I felt aglow like this,” a simile is used to liken the feeling of being

aglow to something radiant or illuminated using the word “like.” This comparison

vividly portrays the intensity and warmth of the speaker’s emotion. By describing

the feeling as akin to something glowing or shining brightly, the simile enriches

the depiction of their emotional state. It enhances the listener’s understanding by

relating the emotion to a tangible sensation of brightness, making it more vivid

and evocative.

Datum 10

I’m so depressed, I act like it’s my birthday every day

(Source: I Can Do It With a Broken Heart – Taylor Swift)

Analysis:

The lyric uses a simile to compare the speaker’s behavior of pretending to

celebrate their birthday every day to their true state of depression. By using

“like,” the simile highlights the stark contrast between the outward appearance of

joy and the internal struggle with sadness. This comparison vividly illustrates how

the speaker’s façade of happiness (acting as if it’s their birthday) masks their

deeper emotional turmoil. It emphasizes the significant difference between how

the speaker appears to others and how they actually feel inside. This portrayal

helps the listener understand the dissonance between the speaker’s public persona

and private despair, making the emotional conflict more relatable and poignant.

4.2.3 Personification

Dr. Guntur Tarigan’s book Pengajaran Gaya Bahasa explains that

personification attributes human characteristics to non-living things. This is a type

of metaphor since it implies a comparison between two entities. In

personification, the figurative comparison involves human traits, even though the

literal terms refer to objects without life.

Datum 11
 These fatal fantasies giving way to labored breath, takin’ all of me

(Source: Guilty as Sin – Taylor Swift)

Analysis:

In the lyric “These fatal fantasies giving way to labored breath, takin’ all of me,”

employs personification to illustrate how abstract thoughts are endowed with

human-like qualities. By attributing the actions of “giving way” and “takin’ all of

me” to the non-living “fatal fantasies,” the lyric imbue these abstract thoughts

with human-like qualities. This personification helps to illustrate the

overwhelming and consuming nature of the fantasies, making the emotional

experience more relatable and vivid for the reader.

Datum 12

I want to snarl and show you just how disturbed this has made me

(Source: Who’s Afraid of Little Old Me – Taylor Swift)

Analysis:

The phrase “how disturbed this has made me” uses personification to give the

speaker’s emotions a fierce, animalistic quality, reflecting intense anger and

frustration. “this” refers to an unspecified situation or event has caused emotional

distress is due to the previous lyrics “They say they didn’t do it to hurt me. But

what if they did?” It is an abstract concept and does not have the capacity to

perform actions or influence emotions directly. “How disturbed” This phrase

personifies the abstract concept by attributing it with ability to affect the speaker’s
emotional state. The use of “has made” suggests that “this” has actively cause the

speaker to feel disturbed, an action typically associated with living entity.

Datum 13

The ink bleeds

(Source: loml – Taylor Swift)

Analysis:

The line employs personification by giving the human characteristic of bleeding

to the inanimate object of the ink. By depicting the ink as bleeding, the lyric

evokes a powerful image of emotional intensity and turmoil. This suggests that

the feelings conveyed through writing are so strong that they metaphorically bleed

onto the page, highlighting the depth and rawness of the speaker’s emotions. This

use of personification enhances the lyrical imagery, emphasizing the profound

emotional impact of the words being expressed.

4.2.4 Antithesis

Dr. Guntur Tarigan’s book Pengajaran Gaya Bahasa details that antithesis

is a rhetorical device used to juxtapose two opposing ideas or words within a

sentence or phrase. This technique emphasizes the contrast between the two

concepts, thereby highlighting their differences. By placing these contrasting

elements side by side, antithesis creates a striking and memorable impact,

enhancing the clarity and effectiveness of the message being conveyed. This
method of contrasting ideas can be used to underline the complexity of a subject

or to emphasize a point more forcefully.

Datum 14

I was tame, I was gentle ‘til the circus life made me mean

(Source: Who’s Afraid of Little Old Me – Taylor Swift)

Analysis:

The line “I was tame, I was gentle ‘til the circus life made me mean” contrasts the

speaker’s previous gentle nature with their current harsh demeanor caused by

present’s life. This contrast emphasizes the significant transformation the speaker

has undergone. The word “tame: suggests docility and calmness, while “mean”

implies cruelty and harshness. This juxtaposition underscores the profound impact

of the speaker’s experiences, illustrating how their environment has drastically

changed them for one extreme to the other.

Datum 15

A greater woman wouldn’t beg

(Source: The Prophecy – Taylor Swift)

Analysis:

This line uses a contrast to show the difference between begging and the qualities

of strength and dignity associated with a “greater woman.” By placing these

opposing ideas side by side, the speaker emphasizes their determination to avoid

asking for help. This contrast highlights the speaker’s pride and independence,
showing their resolve to keep their dignity and strength even in tough situation.

The use of contrast reinforces the idea that, despite facing difficulties, the speaker

will not compromise their self-respect by begging.

Datum 16

I thought I was better safe than starry-eyed

(Source: loml – Taylor Swift)

Analysis:

This phrase uses antithesis by contrasting caution (“better safe”) with naïve

optimism (“starry-eyed”). This comparison shows the speaker’s preference for

being careful over being overly hopeful, indicating a practical approach to the

relationship. By choosing caution over idealism, the speaker aims to stay realistic

and avoid being carried away by romantic fantasies. The antithesis highlights the

speaker’s determination to remain grounded and avoid the dangers of excessive

optimism.

Datum 17

I was grinnin’ like I’m winnin’ / I was hittin’ my marks / Cause I can do

it with a broken heart

(Source: I Can Do It With a Broken Heart – Taylor Swift)

Analysis:

This line compares two opposite ideas: outward success and inner emotional

turmoil. The contrast between “grinnin’ like I’m winnin” and “hittin’ my marks”
versus “a broken heart” highlights the difference between how the speaker appears

successful in public and their private struggle with emotional pain. It reveals the

complexities of human emotions and the ability to endure despite personal

hardships, providing a deep understanding of resilience and inner strength.

4.2.5 Pleonasm

Pleonasm refers to the inclusion of redundant word within a sentence. This

occurs when an extra word can be removed without altering the sentence’s

meaning, as explained in Gorys Keraf’s book Argumentasi dan Narasi (1985)

Datum 18

If you wanted me dead, you should’ve just said

(Source: Who’s Afraid of Little Old Me – Taylor Swift)

Analysis:

In the phrase “If you wanted me dead, you should’ve just said,” the word

“just” is redundant. Removing it wouldn’t alter the meaning significantly, but its

presence adds a sense of casual emphasis to the statement. This redundancy

highlights the speaker’s frustration or exasperation, maintaining the sentence’s

coherence while subtly influencing its tone.

 CHAPTER 5

CONCLUSION AND SUGGESTION

5.1 Conclusion

The analysis on the previous chapters and the exploration of comparative

stylistic in various songs from Taylor Swift’s THE TORTURED POETS

DEPARTMENT album demonstrate a masterful use of literary devices that add

significant depth and emotional impact to her music.

By examining the comparative stylistic elements in five selected tracks

from the album and drawing on insights from Prof. Dr. Guntur Tarigan’s book

Pengajaran Gaya Bahasa, the researcher identified thirty-five instances: Guilty as

Sin, Who’s Afraid of Little Old Me, The Prophecy, loml, and I Can Do It With a

Broken Heart where comparative stylistic were utilized. The most common device

identified was the metaphor, which appeared 19 times across these songs. The

analysis reveals that metaphors are the most prevalent, with 19 instances,

accounting for 54% of the total data. Similes follow with 6 instances, making up

17%. Personifications are identified 5 times, representing 14% of the data, while

antithesis are found 4 times, comprising 12%. Pleonasm is the least frequent with

just 1 instance, equating to 3%. Other stylistic devices, such as depersonification,

allegory, periphrases, prolepsis, and epanorthesis, are not present in the analyzed
songs, each accounting for 0% of the data. Taylor Swift frequently uses

metaphorical language to convey underlying meanings or messages about past and

present conditions. Her use of metaphor often introduces numerous comparisons,

allowing listeners to draw various conclusions, such as the ‘open ending’ cycle,

and interpret them freely. This comprehensive analysis emphasizes the

significance of comparative stylistic in her song writing, contributing to her

creative brilliance and the emotional resonance of her music. Additionally, Swift

employs metaphors as a means of expressing her emotions in each relationship

she experiences, emphasizing the depth of her connections with others.

5.2 Suggestion

The researcher hopes this study will be valuable to those interested in

comparative stylistics. Additionally, it is anticipated that other researchers will use

this work as a reference for further studies involving different subjects, such as

poetry, novels, or even films. This research aims to inspire and guide future

analyses in the field, encouraging more comprehensive and diverse explorations

of stylistic elemets across various forms of media.

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 38

APPENDICES

No. Comparative Song Title Stanza, Lyric

Stylistic Line

1. Metaphor Guilty as Sin 1st, 1st Drownin’ in the Blue

Nile

2. 1st, 5th This cage was once just

fine

3. 1st, 7th I dream of crackin’ locks

4. 1st, 12th I’m seeing visions

5. 2nd, 3rd One slip and fallin’ back

into hedge maze

6. 3rd, 1st I keep those longings

locked in lowercase,

inside a vault

7. 5th, 9th I choose you and me

religiously

8. Who’s Afraid 1st, 1st The who’s who of

of Little Old ‘Who’s that?’ is poised

Me for the attack

9. 1st, 3rd But my bare hands

 38

paved their paths

10. 3rd, 1st So I leap from the

gallows and I levitate

down your street

11. 4th, 2nd The bullet had just

grazed

12. 7th, 6th You wouldn’t last an

hour in the asylum

where they raised me

13. The Prophecy 1st, 1st Hand on the throttle

14. 1st, 2nd Thought I caught

lighting in a bottle

15. loml 1st, 1st Who’s gonna stop us

from waltzing back into

rekindled flames

16. 1st, 3rd We embroidered the

memories of the time I

was away

17. I Can Do It 1st, 1st I can read your mind

With a

Broken Heart
 38

18. 1st, 3rd There in her glittering

prime

19. 4th, 1st I can hold my breath

20. Simile Guilty as Sin 3rd, 6th How can I be guilty as

sin?

21. 6th, 4th Buildin’ up like waves

crashin’ over my grave

22. Who’s Afraid 3rd, 2nd Crash the party like a

of Little Old record scratch as I

Me scream

23. The Prophecy 1st, 5th I got cursed like Eve got

bitten

24. loml I felt aglow like this

25. I Can Do It 3rd, 1st I’m so depressed, I act

With a like it’s my birthday

Broken Heart every day

26. Personification Guilty as Sin 5th, 1st These fatal fantasies

giving way to labored

breath, takin’ all of me

 38

27. Who’s Afraid 7th, 5th I wanna snarl and show

of Little Old you just how disturbed

Me this has made me

28. loml 1st, 6th Stitching, ‘We were just

kids, babe’

29. 4th, 7th The ink bleeds

30. I Can Do It 1st, 4th The lights refract sequin

With a stars off her silhouette

Broken Heart every night

31. Anthithesis Who’s Afraid 6th, 4th I was tame, I was gentle

of Little Old ‘til the circus life made

Me me mean

32. The Prophecy 1st, 9th A greater woman

wouldn’t beg

33. loml 1st, 7th I thought I was better

safe than starry-eyed

34. I Can Do It 2nd, 12th I was grinnin’ like I’m

With a winnin’ / I was hittin’

Broken Heart my marks / ‘Cause I can

do it with a broken heart

35. Pleonasm Who’s Afraid 2nd, 1st If you wanted me dead,

of Little Old
 38

Me you should’ve just said

69