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Sunday, July 18, 2010

A COMPARATIVE STUDY BETWEEN SINGAPOREAN AND MALAYSIAN IN ENGLISH PRONUNCIATION STYLE ABOUT ENGLISH IS SECOND LANGUAGE

A COMPARATIVE STUDY BETWEEN SINGAPOREAN AND MALAYSIAN IN ENGLISH PRONUNCIATION STYLE ABOUT ENGLISH IS SECOND LANGUAGE



THESIS

Alvani Abdillah     06410038












FACULTY OF LETTERS
GAJAYANA UNIVERSITY OF MALANG
2009


                       
ABSTRACT

Language used by people in various parts of the world have own characteristics that are different from others. On the other hand, people in different geographical region have their own languages that are characteristically different from others. These languages are called regional language.
Among the regional languages, there are similarities and differences in pronunciation of the words; it may be caused by historical background that influences each others. It occurs, for instance, between Singaporean and Malaysian English. Some words of them are similar and different in the forms of oral and written. Both also have speech levels that each has different function.
The main purpose of this study is to analyze the differences of the pronunciation of Singaporean and Malaysian English. This analyze is essentially used to answer the research problems of the study. Those are: 1. What Singaporean and Malaysian English have difference? 2. What a characteristics of the difference of the pronunciation of Singaporean and Malaysian English? 3. Are there any similarities between Singaporean and Malaysian English? 4. What aspect is similar and different?
This analysis is descriptive method. The listed words are the data taken randomly from the population of Singaporean and Malaysian speech communities. They consist of the differences of the Singaporean and Malaysian English that happen naturally in communicative event. However, the informants are asked to state the English given into Singaporean and Malaysian.
The results of this study indicate that there are some similarities between Singaporean and Malaysian English. The aspect of similarities occurs in the pronunciation. There are some Singaporean and Malaysian English have different characteristics. The other Singaporean and Malaysian English have different individual spelling, and Singaporean and Malaysian English use compound words.




CHAPTER 1
INTRODUCTION

Background of the Study:
I interest to connect participants’ bilingual practices to their developing understandings of a member language. Dual-language by native languages and cultures as resources study and by creating enriching, high-quality academic for speech communities backgrounds. I conducted my research provides an ideal reason for the study of the language between multilingualism and social life.
The researcher facts from a variety of disciplinary backgrounds have demonstrated in multiple ways to explore the power and efficiency of their multiple languages and dialects, as well as test the sociolinguistic boundaries associated with particular linguistic forms.
In contrast, are based on an additive conceptual of bilingualism. Additive bilingual communities to add English on to their linguistic repertoire, while maintaining and developing skills in their mother tongue. In the other Region also tend to have social goals related to tolerance and cultural pluralism.
I have a reason to focuses on the connections between participants’ use of linguistic forms and their beliefs about bilingualism and biculturalism. I argue that the communities prevailing ideology of equality, in some ways, conceives of English language learning and foreign language learning as essentially the same.
In there, both foreign language-dominant and English-dominant people have the opportunity to be models and experts for one another in different situations. Thus, this study are designed to provide high-quality, research-based practice for English language speakers, as well as foreign language instruction for monolingual English people.




Problem of the study:
    Based on the description, the problem of this research can be formulated as follows:
Are they any similarities between Singaporean and Malaysian English?
Are they any differences between Singaporean and Malaysian English?
When there are some similarities and differences, what aspects are?
What a characteristics features of the similarities and the differences between them?

Purpose of the study:
    The main purpose of this study is to analyze the differences of the pronunciation of Singaporean and Malaysian English. This analyze is essentially used to answer the research problems of the study. Those are: 1. What Singaporean and Malaysian English have difference? 2. What a characteristics of the difference of the pronunciation of Singaporean and Malaysian English? 3. Are there any similarities between Singaporean and Malaysian English? 4. What aspect is similar and different?

What do you want to do with your thesis?
    The research is aimed to contribute some findings especially the differences between Singaporean and Malaysian English that arte useful for English and Indonesian learners. It is aimed also to answer the questions mentioned in the problems above. The main purpose of this study is to analyze the differences of the pronunciation of Singaporean and Malaysian English. This analyze is essentially used to answer the research problems of the study. They consist of the differences of the Singaporean and Malaysian English that happen naturally in communicative event. However, I am asked to state the English given into Singaporean and Malaysian.




Assumption of the study:
    Dealing with history of a relationship between the Singaporean and Malaysian English, and It is assumed that there are some similarities between them. They may be found in the pronunciation, spelling and meaning.

Significance of the study:
The result of this research is hoped to give something valuable for the study of sociolinguistics. It is also aimed to get knowledge about the use of oral Singaporean and Malaysian English. By knowing the correct English pronunciation of Singaporean and Malaysian speech communities, it is hoped that this thesis will be useful to students and teacher who want to know some about the differences between Singaporean and Malaysian English. By knowing the sociolinguistic representation of a linguistic form, we can comprehend the difference. In addition, this study will be a helpful model for further researchers in stating the linguistic forms. This study also introduces the innovative tool. This study is expected to give a meaningful contribution to the linguistic study especially in the field of sociolinguistic.

Scope and limitation:
Scope
The scope of this research is the analysis of Singaporean and Malaysian English pronunciation that have differences and similarities, and the words that have the same meaning.
Limitation
The limitation of this study is that the pronunciations are taken from parts of Singaporean and Malaysian dialects as the representative of them English. Therefore, the study do not reflected them language as a whole. It enables occurrences of missed data and is not analyzed from point of view of why difference occurs.
Theoretical Framework:
There are some theories that can be used as guidelines to analyze the differences of Singaporean and Malaysian English.

“In the geographies of the language mentioned, the principles of pronunciation are to that any normal speakers learns the complete language system by the end of the second language. The basic of the geographic by the stage is virtually evidence of subnormal mentality in American, English, Spain, etc.” (Robert A. Hall, 1964).

“The process of change of the languages can be linked to major social changes by wars, invasions and other upheaval, the most pervasive source of change in language seems to be in the continual process of cultural transmission. Each new generation has to find a way of using a language of the previous generation. In this unending process whereby each new language user has to recreate for him or himself the language of the community, there is an unavoidable propensity to pick up some elements exactly and others only approximately. There is also occasional desire to be different.” (Yule, 1985:176-177).

Organization of key terms:
    To give the readers a general idea and simple guidance. It is necessary to explain the organization of the study. The study is divided into five chapters, introduction, review of related literature, research methodology, analysis and discussion, conclusion and suggestion
    The first chapter, introduction, consist of the background of the study, problems of the study, purpose of the study, assumption, significance of the study, scope and limitation, theoretical framework, and organization of the study.
    The second chapter, review of related literature, consists of the theories. They will support the analysis of the data.
    The third chapter, research methodology, consists of design of the research, approach of the study, data collection and data analysis.
     The fourth chapter is the analysis and discussion, which puts forward the findings. The last is the fifth chapter; it is about the conclusion and suggestion.






















CHAPTER II
Review of Related Literature
Language
Everyone needs at least language. Language has an important role in human life as it is one of communication devices.
    Gumpers describes a language as a medium of communication that is posessed by human groups (1971:114). Moreover, language is the institution whereby humans communicate and interact with each other by means of habitually used oral-auditory arbitrary symbol (Hall in Crystal, 1987:396). Considering the definition, a language has function as a medium of device of communication. Being a medium of communication, a language plays an important role in daily activities, such as politic, education, technology, etc.
Singlish is an English-based creoles used in Singapore. It is the first language of many Singaporeans, and the second language of nearly all the rest of the country's citizens. However, educated Singaporeans are able to code-switch between Singlish and Standard English.

The vocabulary of Singlish consists of words originating from English, Malay (mainly Bahasa Melayu rather than Indonesian), Hokkien, Teochew, Cantonese, Tamil, Bengali, Punjabi and to a lesser extent various other European, Indic and Sinitic languages, while Singlish syntax resembles southern varieties of Chinese. Also, elements of American and Australian slang have come through from imported television series and films. Recently, because Mandarin Chinese is taught to most Singaporean Chinese students in school, Mandarin words have also found their way into Singlish. Singlish is very similar to Manglish, the creoles of neighboring Malaysia.

The Singaporean government currently discourages the use of Singlish in favors of formal "official" English, as it believes in the need for Singaporeans to be able to effectively communicate with the other English users in the world. The government runs the Speak Good English Movement to emphasis the point.

Once Singapore had become independent from Britain, "the Queen's English" was gradually replaced by a more Singapore-accented form of English among the young.

As the entire British civil service and Education Ministry were withdrawn from Singapore, the civil service and Education Ministry were replaced by British subjects born in Singapore, who became less stringent in correcting local variants of English to conform with Standard English. Singlish began to evolve among the working classes who learned English without formal schooling, and it was increasingly used as a lingua franca.

Singlish originated with the arrival of the British and the establishment of English language schools in Singapore. Soon, English filtered out of schools and on to the streets, to be picked up by non-English-speakers in a pidgin-like form for communication purposes. After some time, this new form of English, now loaded with substantial influences from Indian English, Baba, Malay, and the southern varieties of Chinese, became the language of the streets and began to be learned "natively" in its own right. Creolization occurred, and Singlish then became a fully formed, stabilized, and independent English Creole.

In British Singapore, however, as the seat of the colonial government and international commerce, English was both the language of administration and the lingua franca.

Malaysian English (MyE), formally known as Malaysian Standard English (MySE), is a form of English used and spoken in Malaysia as a second language. Malaysian English should not be confused with Malaysian Colloquial English which is famously known as Manglish or Street English, a portmanteau of the word Malay and English.

 The acrolect is near-native, and not many Malaysians fall into this category - only those educated in core English-speaking countries from early schooling up to university may be found to speak the acrolect variety, so only tiny percentage of Malaysians are proficient in it. As with other similar situations, a continuum exists between these three varieties and speakers may code-switch between them depending on context.

Most academics, professionals and other English-educated Malaysians, speak mesolect English. Malaysian English belongs to mesolect, and it is Malaysian English that is used in daily interaction.

However, in truth most Malaysians on the street speak Manglish on a daily basis. Therefore this means Manglish is actually short for Malaysian English. Manglish can be spoken almost using completely English words alone just that they are used differently. Imported words are actually minimal except for just a handful of common non-English nouns and verbs in Malaysia. Manglish or Malaysian English is therefore a matter of style of usage.

There are indeed colloquial words not common outside of Malaysia but that does not render them a part of English. They are used colloquially as substitutes in other languages in Malaysia as well.

At other times, using Malay grammar on English words, speaking English using Chinese grammar, or mixing grammar and words that don't belong together can be done quite spontaneously and be quite amusing. Hence, it would not be accurate to list down all words and meanings and package them as a new form of language as is sometimes done by authors to have enough content for a coffee table book.

Historical Approach
The name Anglo-Malay has been used to describe the variety that emerged during colonial times among expatriates and a local élite, serving as the vehicle through which such words as compound/kampong, durian, orang utan, and sarong have passed into GENERAL ENGLISH.

Some English-medium schools were established in the 19c (in Penang in 1816, Singapore 1823, Malacca 1826, and Kuala Lumpur 1894), at the same time as Malay, Chinese, and Tamil schools were encouraged.

Those members of the various ethnic groups who were educated in the English-medium schools came to use English increasingly in their occupations and their daily life; the 1957 census reported 400,000 people (some 6% of the population) as claiming to be literate in the language. When the British began to withdraw in the late 1950s, English had become the dominant language of the non-European élite, and with independence became with Malay the ‘alternate official language’.

However, the National Language Act of 1967 established Malay (renamed Bahasa Malaysia in 1963) as the sole official language, with some exceptions in such areas as medicine, banking, and business.

Among Malaysians, the term Malaysian English tends to refer to a more or less controversial variety that centers on the colloquialisms of those educated at the English-medium schools. Its essence is distilled in the cartoons of K. H. Boon in the Malaysian Post: ‘Myself so thin don't eat, can die one, you know?’

English-medium education expanded after independence; there were close to 400,000 students in such schools when, in 1969, the Ministry of Education decided that all English-medium schools would become Malay-medium. By the early 1980s, the process through which Bahasa Malaysia has become the national language of education was virtually complete, but the shift prompted widespread concern that general proficiency in English would decline.

To prevent this, English has been retained as the compulsory second language in primary and secondary schools. Some 20% of the present population (c.3.4m) understands English and some 25% of city dwellers use it for some purposes in everyday life. It is widely used in the media and as a reading language in higher education.

There are seven English-language daily newspapers (combined circulation over 500,000) and three newspapers in Sabah published partly in English (circulation over 60,000). English is essentially an urban middle-class language, virtually all its users are bilingual, and CODE-SWITCHING is commonplace.

Ever since Sir Stamford Raffles claimed the island of Singapore for the East India Company in 1819, English has had a place in Singapore. As more and more of its people experienced learning English at school, English became widely spoken, alongside Singapore's many other languages. Since Singapore became an independent Republic in 1965, the use of English has increased still further, and since 1987 all Singaporean children have their education through the medium of English (they must also study another language at school). For many Singaporeans, English is the main language. Many families speak English at home and it is one of the first languages learnt by about half of the current pre-school children.

Nearly everyone in Singapore speaks more than one language, with many people speaking three or four. Most children grow up bilingual from infancy and learn more languages as they grow up. Naturally the presence of other languages (especially various varieties of Malay and of Chinese) has influenced the English of Singapore. The influence is especially apparent in a kind of English that is used informally, which is popularly called Singlish. Singlish is a badge of identity for many Singaporeans, and, as you can see from Talkingcock.com, there are some websites that are written in it. Many bloggers use a good deal of Singlish in their writing too. As is the case with many contact varieties, however, Singapore English is often seen as wrong. In 1999 an official campaign began to encourage Singaporeans to use Standard English rather than Singlish.

Since the 1960s linguists and sociologists have studied the features and the functions of English in Singapore from a number of perspectives. Those who would like to know about studies of Singapore English should look at our annotated list of the major works on Singapore English. You might also like to look at the articles which I wrote on Singapore English for Speech Therapists, which will give you some idea what Singapore English is like.

Over the past few decades, Singapore English has been emerging as an independent variety of English with its own distinct style of pronunciation, grammar and word usage. An overview of this variety in straightforward, non-technical language, including coverage of: its pronunciation, including comparisons with the pronunciation of English in other countries in South-East Asia; its morphology and grammar; the words that are used, including instances where the meaning is distinct from other varieties of English; the discourse patterns that are found, including use of particles such as lah; and, its history and current developments.

All the findings presented in the book are illustrated with extensive examples from one hour of recorded conversational data from the Lim Siew Hwee Corpus of Informal Singapore Speech, as well as some extracts from the NIE Corpus of Spoken Singapore Speech and recent blogs. In addition, usage patterns found in the data are summarized, to provide a solid foundation for the reported occurrence of various features of the language.

Sociological Approach
Due to its origins, Singlish shares many similarities with pidgin varieties of English, and can easily give the impression of "broken English" or "bad English" to a speaker of some other, less divergent variety of English. In addition, the profusion of Singlish features, especially loanwords from Asian languages, mood, particles, and topic-prominent structure, can easily make Singlish incomprehensible to a speaker of Standard English.

As a result, the use of Singlish is greatly frowned on by the government, and two former prime ministers, Lee Kuan Yew and Goh Chok Tong, have publicly declaredthat Singlish is a substandard English that handicaps Singaporeans, presents an obstacle to learning proper English, and renders the speaker incomprehensible to everyone except another Singlish speaker.

Current Prime Minister Lee Hsien Loong has also said that Singlish should not be part of Singapore's identity. In the interests of promoting equality and better communication with the rest of the world, in 2000 the government launched the Speak Good English Movement to eradicate it, at least from formal usage. In spite of this, in recent years the use of Singlish on television and radio has proliferated as localized Singlish continues to be popular among Singaporeans, especially in comedies. Singlish comedies have scored higher viewer ratings in the Singapore, Malaysia, Indonesia, and Southeast Asian market, than BBC comedies such as Black Adder.[citation needed]

Singlish is strongly discouraged in Singaporean schools at a governmental level as it is believed to hinder the proper learning of Standard English, and so faces a situation of diglossia. The use of Singlish when speaking in classes or to teachers, however officially frowned upon, is rather inevitable given that many teachers themselves are comfortable with the variety. For many students, using Singlish is also inevitable when interacting with their peers, siblings, parents and elders. The government continues to wage an uphill battle in discouraging students from developing a Singlish-speaking habit.

In most workplaces, Singlish is avoided in formal settings, especially at job interviews, meetings with clients, presentations or meetings Nevertheless, select Singlish phrases are sometimes injected into discussions to build rapport or for a humorous effect, especially when the audience consists mainly of locals.

In other informal settings, such as during conversation with friends, or transactions in kopi tiams (coffee shops) and shopping malls, Singlish is used without restriction. The only exception is that it may be considered impolite to speak Singlish when a foreigner is present, as it is likely that he or she will find it difficult to understand. However, many Swedish, German, Dutch, Swiss, American, Canadian and even British expatriates have begun to learn Singlish and enjoy responding to interviews in a badly learned Singlish.

It should also be noted that Singlish itself consists of a diverse continuum ranging from an acrolect that is very similar to British or American English, to a mesolect that is more divergent, to a basilect that is nearly incomprehensible to the average native speaker of English. In a formal situation, the acrolect may be acceptable, while the basilect would be unacceptable; in an informal situation, the situation may be reversed with the acrolect being too stiff and the basilect more acceptable.

Students in Malaysian schools are taught only basic and simpler conversational English using British grammar and spelling. Unfortunately, due to the multi-language environment the local teachers are not high up on pronunciations and intonations.

There is no reference to the English being used in Malaysia, as Malaysian English, even from the English daily newspapers. Naturally there are some differences of contemporary words used between Malaysia and the United Kingdom as they are continents apart each have their own media. However, they are not so distinctly apart and established that English in Malaysia needs to be recognized as Malaysian English. Malaysia continually strives to refer to authorities of British English but also accepts that American English influence is becoming increasingly apparent. Hence, Malaysia has no intention of formulating its own English or coming up with its own dictionary unlike some English-speaking Commonwealth states like Australia.

There is no such term as Malaysian English in any official context except for the ever-changing school curriculum modules in attempts to improve the command of English but without going into advanced lessons. Call it English 112, English for Primary Students, Malaysian English, and Conversational English etc but "Malaysian English" is not an official dialect of English. On the streets, Manglish is just "Malaysian English" shortened as Singlish is Singaporean English shortened i.e. bad broken English that it originally was.



CHAPTER III
Research Methodology

The Research Design
This study is a descriptive-qualitative study that describes the aspects of the similarities and the differences of Singaporean and Malaysian English that happens naturally in the communicative event. The observation is done to collect the data that will be used as the source of the study.
The analysis of this study is based on the inductive approach, which is the phenomena found in the study will be analyzed and the final findings will be confirmed with related general theoretical framework.

Source of the Data
The population of this study is the Singaporean and Malaysian speech community regardless of age, sex, social status, and educational background.

Data Collection
The procedure of the data collection is recording some language produced by the native of Singaporean and Malaysian. The informants are asked to state the English language given into Singaporean for the native of Singaporean, and into Malaysian for the native of Malaysian. Besides, the writer also notes what the speakers produced just to prevent the unclear result of the recording.

Data Analysis
The techniques of the data analysis are as the follows:
a.    the collected data are transcribed,
b.    They are classified. The classification is based on the similarities, and the differences in pronunciation,
c.    They are analyzed based on the characteristic features of the similarities and the differences between them.

CHAPTER IV
Analysis and Discussion

    Language, Culture and Society
Initially, "Singlish" and "Manglish" were essentially the same dialect evolving from the British Malaya economy, born in the trading ports of Singapore, Malacca and Penang when Singapore and peninsular Malaysia were for many purposes a de facto single entity.

In Singapore, English was the language of administration, which the British used, with the assistance of English-educated Straits-born Chinese, to control the administration in Malaya and governance of trading routes such as the British East Indies spice routes with China, Japan, Europe and America in those ports and colonies of Singapore, Malacca and Penang through the colonial governing seat in Singapore.

In British Malaya, English was the language of the British administration whilst Malay was spoken as the lingua franca of the street, as the British did not wish to antagonize the native Malays.

In British Singapore, however, as the seat of the colonial government and international commerce, English was both the language of administration and the lingua franca.

Thus, in Malaysia, even the Chinese would revert to Malay when speaking to Chinese who did not speak the same Chinese varieties. However, in British Singapore, the Chinese would use English when speaking to other Chinese of a different dialect.

In Malaya, the Chinese varieties themselves also contained many loan-words from Malay, and more Chinese loan-words from the Cantonese, rather than the Hokkien languages e.g. Cantonese: Cantonese-influenced "baa sat" instead of the Hokkien-influenced "baa saak" in Singapore, lo di (from Malay 'pasar', 'roti' meaning 'market', 'bread'), Hokkien gu li, jam bban (from Malay 'guli', 'jamban' meaning 'marble', 'latrine'/WC).

In Singlish, "eating bread" would be translated as "jiak bread", jiak being the Hokkien verb for "to eat", whereas in Malaysia, "eating bread" would be translated as "makan lodi" (Malay verb for "eat" + Hokkien transliteration of the Malay word for "bread"). Many signs in Singapore include all four official languages: English, Chinese, Malay and Tamil.

What is common between the two is the way local language terms, intonations, exclamations and grammar are fused with English. Manglish however is fused more with Malay nouns and verbs as all Malaysians learned Malay in school whereas Singlish is more fused with Chinese terms as most Singaporeans do not learn Malay in school and the island republic has an overwhelming majority of chinese speakers.

"Manglish" was coined right after "Singlish" was coined when Singapore attempted to stop such language being accepted on public media. For some reason however, it has turned out to be a quirky and amusing language to foreigners and some write about it to help foreigners adapt instead. And Malaysia wanted its own identity to the broken English language instead of a term that refers to sibling rival Singapore.

Singlish shares substantial linguistic similarities with Malaysian English (Manglish) in Malaysia, although distinctions can be made, particularly in vocabulary. Manglish generally now receives more Malay influence and Singlish more Chinese (Mandarin, Hokkien, etc.) influence. In addition, the Singlish dialect has a set grammar and particular phonological and grammatical rules, whereas Manglish does not follow any grammatical rules, and is not mutually intelligible within different variants of Manglish, even disparate regions in Malaysia itself.[citation needed]

Each of the following means the same thing, but the basilectal and mesolectal versions incorporate some colloquial additions for illustrative purposes.Basilect ("Singlish")

The phenomenon of code switching, or the alternation between multiple languages within the same conversation, further complicates the linguistic situation in Singapore, where due to international commerce in the 1970s, 1980s and 1990s, many well-educated Singaporeans aged 40 and below can speak, in addition to Standard English or American English, French, Japanese, German and Mandarin Chinese.

For example, a local Singaporean professor might speak in a Singlish consisting of English, Hokkien, Malay, Cantonese, Indian and French loan-words, when explaining aesthetic theories in a university lecture.

It is however, possible to speak Manglish/Singlish without substituting English words with that from another language. By just changing the pronunciation, intonation, over-simplifying the grammar, redefining the use of certain english words, give meaning to phrases and using simple exlamations common to the region as well as paying attention to the expression and tones will have anyone speaking Manglish/Singlish.

Wat la yu? (What lah you?) spoken in a rising disappointing tone means How could you? or How stupid can you get?
Wat la yu.. (What lah you) spoken in lowering sheepish softening comforting tone means You shouldn't have or You should have been more careful but I still like you
Got or not? spoken is rising tone means Did that happen? or Do you have it?
Wear got? (Where got) spoken in rising exclamation means No such thing or I don't believe you
Sure ah? spoken in rising question tone means Are you sure?
O.K. wat? (OK what?) spoken in rising questioning OK and lowering assuring tone means Isn't this good enough? (with intent to assure that it is good enough) or This should be acceptable, isn't it?
Like dat cannot la! (Like that cannot lah!) spoken with serious expression means I cannot accept it this way or in this condition
How can? spoken in rising exclamation means How could this happen or How can this happen
Die lah! spoken in somber or exclamation means I'm in deep shit or I would be in deep shit, both figuratively speaking
..is it? end any sentence with this question ignoring the grammar will mean Is this/that correct? or Is the statement true?
When ah? Who ah? How ah? Why ah? Where ah? in rising ahs mean When? Who? How? Why? Where? respectively
Eh hello! (hey hello!) or just hello! spoken in the middle of a conversation means That does not sound right or you don't seem alright. You are not paying attention, please stay alert!

Of course there needs to be some inclusion of common simple words in Malay or Chinese like Alamak! or Aiyo! (both mean Oh no!!) but by no means would the list of non-English verbs and nouns take pages. Many writers who teach Manglish and Singlish do so with reference to earlier light-hearted books that would have needed to be at least 20 to 50 pages long. Anything less might not sell. In truth, they have less to do with imported words but more with style.

(1) Malaysian English and SINGAPORE ENGLISH have much in common, with the main exception that English in Malaysia is more subject to influence from Malay. (2) Pronunciation is marked by: a strong tendency to syllable-timed rhythm, and a simplification of word-final consonant clusters, as in /lɪv/ for lived. (3) Syntactic characteristics include: the countable use of some usually uncountable nouns (Pick up your chalks; A consideration for others is important); innovations in phrasal verbs (such as cope up with rather than cope with); the use of reflexive pronouns to form emphatic pronouns (Myself sick I am sick; Himself funny He is funny); and the multi-purpose particle lah, a token especially of informal intimacy (Sorry, can't come lah). (4) Local vocabulary includes: such borrowings from Malay as bumiputera (originally SANSKRIT, son of the soil) a Malay or other indigenous person, dadah illegal drugs, rakyat the people, citizens, Majlis (from ARABIC) Parliament, makan food; such special usages as banana leaf restaurant a South Indian restaurant where food is served on banana leaves, chop a rubber stamp or seal, crocodile a womanizer, girlie barber shop a hairdressing salon that doubles as a massage parlour or brothel, sensitive issues (as defined in the Constitution) issues that must not be raised in public, such as the status of the various languages used in Malaysia and the rights and privileges of the different communities; such colloquialisms as bes (from best) great, fantastic, relac (from relax) take it easy; and such hybrids as bumiputera status indigenous status, and dadah addict drug addict.








CHAPTER V
The Results of the Analysis

Conclusion:
Having analyzed the differences of Singaporean and Malaysian English and in which context each meaning is used; I draw a conclusion as follows:
There are some Singaporean and Malaysian English that have different pronunciation, and they’ve the characteristics, and both Singaporean and Malaysian English use compound word.

Suggestions for further researchers:
This thesis cannot be said as a perfect researcher. There are so many things that have not been discussed, the suggestion are as follows:
Besides the similarities and the differences, there are some aspects of language that can be analyzed, such as syntax and lexical process, because those also appear the characteristics features.
For the educational field, the writer hopes the educational institutions should improve students’ linguistic ability through learning-teaching process especially in phonology and semantic branch.
Based on the above suggestion, it is hoped that the next researcher will consider the troubles which are found in this study.

Introduction

Introduction

This chapter discusses: (1) background of the study, (2) statement of the problems (3) objective the study (4) hypotheses, (5) scope and limitation of the study, (6) the significance of the study, and (7) the definition of the significant terms

1.1    background of the study

In early research, aptitude was defined as the capability of learning a task; it depends to large extent on some combination of the characteristic of the learner (Carroll, 1981 cited in Ellis, 2000)

a few researchers such as Pimsleur (1978 and holler & Perkins (1978, booth cite in Ellis, 2000) have argued that motivation is very much a aptitude as verbal factor of an important element in answering intelligence question. Two main instruments used to measure aptitude were development in the 1950 and 1960 (Ellis, 2000).
The modern language aptitude test (MLAT) ( Carroll and sapo.1959 initially tested candidates for foreign language instruction. In 1966 the Pimsleur language aptitude battery (PLAB) (Pimsleur) development as an alternative to MPLAT,    especially for using in junior school.
It measures a higher range of abilities compared to MPLAT. Carroll’s (1965) MPLAT identifies for main. Factors in language aptitude (1) phonetic coding ability is the ability to store new language sounds in memory,2 grammatical sensitivity is defined as the individuals ability to demonstrate his awareness of the syntactical patterning of sentences in a language “3) inductive learning ability is a kind of general memory that is applied to foreign language situation, and,4) rote learning ability is the ability to examine language materials.
And from this to notice and identify patterns and correspondences and relationships involving either meaning of grammatical form” all of these components are measured by MLAT (Ellis, 2000. p. 496). In an early study on the impact of learning a second language (Peald Lambert, 1962) it was demonstrated the student are fluently in two language performed better on measure of bout verbal and non-verbal intelligence then did unilingual children. The researchers (peal & Lambert. 1962) presented compelling evidence suggestion that children who become proficient in a second language demonstrate more diversified cognitive abilities a similar and significant study on language aptitude was completed by (carroll,1962) neurophysiologic research supports the view that younger students than to out perform their older counter part in information ac question tasks; they proved to be quicker, more accurate and retained information longer periods of time the research supported the concept that earlier starts in enquiring second language skill are more effective. For more than 40 year now.
The mine uses of the MLAPT has been in the selection of the student are described is some detail in the MLAPT manual. The potential diagnostics value of the test was also recognized early on. Because different part of the test deal with different aspects of language ability such as phonetic, phonology, grammar inductive, and rote memory” guidance counselors have used scores from different parts of the test in building profiles of student’ strengths and weaknesses and in advising them how best to art ack their curriculum (Cf, Ehrman, 1996; Wesche, 1981) according to best and kahn (1989) achievement test attempt to measure what and individual has learner they are particularly helpful in determining individual or gruel status in academic learning achievement test scores are used in diagnosing strengths and weaknesses and as a basis for awarding prizes scholarship, or degrees, teaching methods, and other factors considered to be significant in education practice. In the some way, such assumption remains some question or doubt on the quality of  Indonesian education system and the interpretation of English teaching of man 2 malang.
The question are: is the second-years students of man 2 malang have a good English achievement? Can their language aptitude influence their English achievement at school? From the above on between the language aptitude and English achievement of the second-year students of man 2 malang as representation of this research

1.2    statement of the problem
based on the background of the study, the research problem can be formulation as follows: “is there any correlation between language aptitude English achievement of the second-year students of man 2 malang

1.3    objective the study
from the statement of the problem stated about, the writing elucidates the purposes of the study as follows:
“to describe whether there is correlation between language aptitude and English achievement of the second students of man 2 malang

1.4    hypothesis
on attempting to give a tentative of the problem the following hypothesis is that:
“there is significant correlation between language aptitude and English achievement of the second-years students of man 2 Malang”

1.5    scope and limitation of the study in this study there are tow variables, they are; language aptitude and English achievement. The population was taken from the second-year. The simple were is student that chose by using random sampling, the score was take from the result of summative test at the final test and MLAT test. Therefore, the writer wants to find out whether the correlation between language aptitude and English achievement of the second-years student of man 2 Malang is significant or not.
1.6    The significant of the study this study is theoretical conducted to provide a scientific investigation on the correlation of language aptitude. And English achievement of study the results of the study are expected to provides not only theoretical significant but also practical one for study and teacher of English teaching research.

The practical significance of the study is to provide the teacher of English with current findings and empirical evidence related to foreign or second language more specifically English teaching.
This study is also expected to be an information source and motivator for English teaching.
1.7    the definition of the key terms
in order to avoid ambiguity and misunderstanding about the terms in this thesis, the research likes to define each of the term:

correlation can be defined as quantitative measure of the degree and direction of relationship existing between language aptitude and English achievement of the second-year student of man 2 malang

aptitude test is a special type of assessment where performance is judged by a predictive, rather than a concurrent criterion. Aptitude test is critical in administration procedure, where is help to make decisions as to the candidate’s ability to acquire a skill within a give timeframe, according to Carroll and sapon, the authors of the MLAT, language aptitude refers to the“ prediction, of how well, relative to other individuals, an individual can learn a foreign language in give amount of time and under give conditions?

English achievement is the score in the English lesson that is shown by a students score in summative test.

           
  
                             

REVIEW OF THE RELATED LITERATURE

REVIEW OF THE RELATED LITERATURE
In this chapter, the researcher attempts to review the related literature about language aptitude and covers: (1) the definition of language aptitude,(2) the value of language aptitude test, (3) the from of language aptitude test,(4) the uses of language aptitude test results,(5)the definition of achievement,(6)some factors affecting the study achievement
2.1 The Definition of Language Aptitude.
    Foreign language aptitude, defined By Carroll (1973; 5) is the” rate at which person at the secondary school, university and adult level learn to criterion.” There are a number of definition, but most of them describe aptitude as a” talent” for language or the speed at which the learner can learn the task in question. The foreign language aptitude was the subject of extensive research conduction since the so ‘s. several aptitude tests have arisen from this research, which are in use today. They have been designed to measure the ability of students to learn a foreign language in classroom settings as well as for selection, placement, and diagnostic purpose.
    However, there are a number of criticisms regarding language aptitude. One of them is that the MLAT and LAB test don’t measure innate aptitude for language proficiency. Ellis (1985)argues that aptitude test do not assess the oral ability that is part of language proficiency and that the language aptitude is not only the ability to learn sounds and syntax, but also the ability to use all various systems of the a language molder to communication meaning. It is also argued that language aptitude test my product is successful predication because there is an imminent agreement of test contained in a test with those present in formal classroom study, and as such it does not measure some in hate linguistic ability.
2.2    The Value Of Language Aptitude Test
The value of language aptitude test research data, Gayle L (1990;2) show that individually administered aptitude test have the following qualities:
They are excellent predictors of future scholastic achievement.
They provide ways of comparing children in the same situation.
They provide a profile of strengths and weaknesses.
They assess differences among individual is.
They have uncovered hidden talents in some children, the us improving their education opportunities.
They are valuable tools for working with handicapped children. In addition, group achievement battery of test can be give quickly and inexpensively to large number of children. Who obtain extreme scores can be easily identified to receive further specialized attention. Aptitude test is valuable in making program and curricula decisions. They can also be used for grouping students as long as grouping is flexible.
2.3    The Form Of Language Aptitude Test
The form of language aptitude test Carroll (1973) who created the modern language aptitude test (MLAT) with his co-author Sapon. Defined language aptitude as simply an’ ability, or “knack” for learning foreign language. Virtually every one has this ability, but some people appear to learn at a faster rate than other. According to Carroll, the purpose of the MLAT was to predict” how well, relative to other individuals, an individual can learn a foreign language in a give amount of time an under give conditions.” In other words, language aptitude is an ability that language determines how quickly and easily and individual will learn a language in a language course or language traming program. As is the case for other kinds of aptitude, such as verbal ability and musical abilities, language aptitude is believed to be relatively stable throughout an. Individual’s life time second language testing foundation provides a variety of language aptitude test for deferent age and language group. This is a brief overview of the aptitude test information. For more detailed information about each test and ordering procedure.
2.3.1    modern language aptitude test (MLAT)
 the modern language aptitude test is:1) appropriate for adults, college/ university student,2) available in a paper based version (MLAT) as well as a computer-based version (CB-MLAT),3) common use for selection and placement of language learners by government agencies, missionary group, and companies, diagnosis of foreign language learning disability (FLLD) for college/ university students and adults, placement of language learners in the most appropriate instructional setting I colleges/ universities or other formal classroom settings.
2.3.2    Pimsleur language aptitude battery (PLAB)
this test is appropriate for students whose first language is English or who are proficient in English and common used for diagnosis of foreign language learning disability in middle school/high school students, providing guidance to middle school/high school student beginning or struggling with foreign language study, advising students who do well on the test to pursue the study of a second and/ or third language building a history of low performance on language aptitude measure to establish, placement of language learners in the most appropriate instructional setting, understanding student cognitive strengths and weaknesses pertaining to language learning.
2.3.3    Modern language aptitude test-elementary (MLAT-E)
 the MLAT_E  test is appropriate for student whose first language is English and common uses for providing guidance to elementary school students beginning or struggling with foreign language study, advising students who do well on the test purse the study of a second and/or third language, building a history of low performance on language aptitude measure to establish the presence of a foreign language learning disability, placement of language learners in the most appropriate instructional setting, understanding of student cognitive strengths and weaknesses pertaining to language learning.
2.3.4    Modern language aptitude test-elementary:
Spanish version (MLAT-ES) the test are:1) appropriate for students whose first language is Spanish,2) Spanish language adaptation of the MLAT-E,3) it can be used with Spanish-speaking children in the united states or with native Spanish-speaking children in other countries, and 4) it common used for determining if a Spanish-speaking child in the united state having difficulty learning English as a second language has a language learning disability, providing guidance to teachers and parents of Spanish-speaking elementary school students beginning or struggling with foreign language study, advising student who do well on the test to pursue the study of a second and/or third language, building a history of language learning, placement of second language learners in the most appropriate, learning teaching methodologies
2.4    The Use Of Language Aptitude Test Result’s In General
The use of language aptitude test result’s in general, aptitude test results have three major uses based on gayle l (1990:12) are:
Instructional teachers can use aptitude test ho results to adapt their curriculum to match the level of their students or to design assignment for student who differ widely, aptitude test scores can also help teaches form realistic expectations, of students. Knowing something about the aptitude level of student in a give class can help a teacher identify which student are not learning as much as could be predicted on the basic of aptitude scores. For instance, if a whole class were performing less well than would be predicted from aptitude test results, the curriculum objective, teaching methods, or student characteristics might be investigated.     
,Administrative
Aptitude test scores can identify the general aptitude level of a high school for example. The can be helpful in determining how much emphasis should be give to college preparatory programs. Aptitude test can be used to help identify students to be accelerated or give extra attention, for grouping, and in predicting job training performance.
    
. guidance
Guidance counselors use aptitude tests to help parents develop realistic expectations for their child’s school performance and to help students understand their own strengths and weaknesses.
2.5 Achievement
    Achievement is successful finishing or gaining of something (Longman, 1998: 7). Achievement is usually designed by test score or marks assigned by the teacher to the pupil, it means that a result which is achieved by the students, after they studied the material lesson. However, in learning activity it means the mastering of knowledge or skills that is developed by a lesson and shown by a score or mark.
    Meanwhile, achievement test is designed to measure an individual’s best or maximum performance (Wiersma, 1991: 283). Achievement tests measure the current status of individuals with respect to proficiency in given areas of knowledge or skill (Cay, 1987: 144).
    In this study, achievement will be specified to level of proficiency in English subject. In this case, achievement in English subject of the second year student at MAN 2 Malang. English achievement refers to students’ achievement in English subject.
    English achievement is a progression step in the instruction objects of English. This achievement can be measured from their language skill ability, i e. listening, spiking, reading, and writing.
2.5.1 Kinds of learning Achievement
    From the benefit, hence, the result of learning evaluation distinguishable becomes four. To be obtainable at school there are as follow:
Formative evaluation: the evaluation which is used to revise the learning and teaching process.
Summative evaluation: the evaluation which used to the students’ class ascent or to the student’ passing.
Evaluations majors: the evaluation which used to specify the students’ correct class.
Diagnostics evaluation: the evaluation to help to solve the certain students’ problem of study.
Final evaluation (the Final Learning Evaluation): the evaluation which used to determine the students’ passing school.
2.5.2 Factors affecting the achievement in study
    As the researcher knows, the factor affecting the success of learning is not just learning strategies. Learning strategies is just as part of another factor. The researcher also tries to determine factors which affect the success in study, namely internal and external factors.
2.5.2.1 Internal Factor
Internal factor means factors, which are coming from the student selves, they consist of:
Intelligence
Intelligence represents one aspect determining success in the study. If students have normal intelligence or higher one, it may potentially obtain good achievement in study. However, reality there is also students who have high intelligence but failed in study, this case may be caused by other factor influencing of learning intensity and so on
.
Aptitude
Aptitude means a potential or an ability, which can be developed easily to get good achievement in an activity through learning. For example, the aptitude for language it means a person who has good aptitude will get good achievement more easily than one who has no aptitude. Aptitude test is designed to assess students’ abilities. It means to predict the ability of students to learn or perform particular or types of the tasks rather than to measure how much the students have already learned.
Interest and Attention
 Interest and attention have close relation which learning. One who has interested in special lesson usually tends to give more attention to the lesson than to others.
Motivation and Attitude.
Motivation is commonly thought of as an inner driver, impulse, emotion, or desire that moves one to a particular action. More specifically, human beings universally have needs or drives that are innate, yet their intensity is environmentally conditioned. Motivation divided into two, are instrumental motivation and Integrative motivation. Instrumental motivation is the reflection of an external need. It means that the students need tools to motivate them while integrative motivation is an internally generated want; it means the students want to study because of their need. Attitude is an internal state that influences (moderates) the choice of personal action made by the individual (Gagne, 1977:44).
Learner beliefs.
Language learners are not always conscious of their individual learning styles, but virtually all learners, particularly older learners, have strong beliefs and opinion about how their interaction should be delivered. These beliefs are usually based on previous learning experiences and the assumption (right or wrong). In other word, what students think about language learning can effect how they go about doing it. Therefore, knowledge of students’ beliefs about language learning is important step toward understanding the learning. 
2.5.2.2    External Factor
External factor means factors coming from out side of the students, such as:
Family
Family plays an important external factor affecting students in learning. When student’s family and its member give stimulus to their study, for example, by giving motivation or guidance to the students learning at home, this condition will help students obtain better achievement in study.
School Environment
The condition environment where the students study also effects on their acquisition. For instance, fresh air will affect their soul. Therefore, the students who study in acceptable environment may get better achievement that the students who study in bad environment such as dirty or hot air.
Social Environment
Social environment can affect the students’ condition, such as negative influence from their close friends, society condition and other negative situation around them. Therefore, teacher and parent should be in cooperation to pay more attention to their students and their children when they are out of school and home environment.

Writing Skill

The correlation between writing skill and grammar mastery of the third semester at unisma
do students who expert in writing skill also expert in grammar mastery?
grammar is part of the English. the function of grammar in  
English is  as a main language component for four skill (listening reading speaking and writing) in formal situation if people want to say something people need grammar to make our conversation understandable in writing people also need grammar to make  a good sentence. thus, it is impossible for us to study a language without mastering grammar. in any language people need a grammar to study the language. Veit (1986: 1) said the grammar is simply the language knowledge. whatever your brain knows that allows you to use language we will call your  grammar.

talking about writing as an impotent skill in learning a foreign  language, writing will give us some advantages in speaking. it will give use time to express our ideas clearly, in order to make the readers understanding about what we went to convey for them. Heffernan and Lincoln (1982:4) say that writing gives you time to think, to try out your ideas on paper, to choose your words, to read that you have writing, to rethink, revise and arrange it, and the most important in considering its effect on the reader, to including writing in learning is not only because writing is a meaning communication but also important in stimulation students thinking skill. Raimes (1983:3 ) states that writing could help our students learn. by doing writing, student can reinforce what they have studied, they also have a change to be adventurous with the language,  and they necessarily become very involved with the new language.     

grammar
English tenses
paragraph
modal auxiliary  and similarly expressions

Research hypothesis (H1)
There is a positive correlation between students’ writing skill and grammar mastery
     Null hypothesis (H0)
There is no correlation between students’   writing skill and grammar mastery

        6.. it is important both for  English teacher and for students 
for teacher : teacher are able to find the ropiate teqniues to increase writing skill and grammer mastery
for student :  students have good way to understand the lesson
dependent variable : writing skill 
Independent variable; grammar mastery
Quantitative approach, correlation method.
third semefter of unisma, from population, the researcher take samle trough random sampling, because the student more than 100 students 
 all the second grade students will be observed.
Students mid term test. (documentation),
questioner s
using Person product moment
Testing and comparing the value of the coefficient correlation (calculated r) from the data analysis with the value of r (critical r) in table at .05 level of significance to know whether it is correlate significantly or not.

     

CREATIVE WRITING

CREATIVE WRITING
The term creative writing means imaginative writing, or writing as an art. The primary concern of creative writing is not with factual information or with the more routine forms of communication (see Writing, Communication by). It does, however, use many of the same skills.  
   A novel, for example, may contain much sociological, political, or psychological information. Scholars may study it for that information, as Sigmund Freud studied literature for accounts of dreams and emotional states. No true novel, however, is written to communicate facts. Like other forms of creative writing it attempts to produce in its reader the pleasure of an aesthetic experience. It tries to uncover form and meaning in the turmoil of love, hate, violence, tedium, habit, and brute fact through which people flounder from day to day.  
   The novelist and short-story writer John Cheever, when asked why he wrote, did not say, "To show how the upper middle class lives in Connecticut." He said, "To try to make sense out of my life." Whether it takes the form of poem, short story, novel, play, personal essay, or even biography or history, creative writing is certain to involve some search for meaning, a measure of wonder and discovery, and a degree of personal involvement in the result.  
Expository Versus Creative Writing
Unlike the expository writer, the creative writer uses language plastically, for its suggestiveness and power of sensuous evocation. The difference between the expository writer and the creative writer, however, goes deeper than the use of language.  
   Joseph Conrad wrote, in 'Notes on Life and Letters', "To have the gift of words is no such great matter. A man furnished with a long-range weapon does not become a hunter or a warrior by the mere possession of a fire-arm; many other qualities of character and temperament are necessary. . . ." Robert Frost remarked, in a similar mood, that "all that can be done with words is soon told," and that poetry is "merely one more art of having something to say." 
A Creative Writer Has Something to Say
Any student with ambitions to be a literary artist is likely to have something he wants to say. He will probably discover for himself that poems in which words are manipulated for their color or sound alone tinkle emptily and abstractly in the mind. He will learn that shallow or conventional stories are exposed rather than supported by a self-conscious, "poetic," or elevated style. A mannered style is more often than not a sign that a writer has not much to say. A writer and his style are inseparable.  
   If a writer is not a little dangerous, both to himself and to others, he is not living up to his calling. To live up to himself, to find what it is he must say, and to find ways of saying it, a writer must know in what he believes. Because the use of words is a power easily abused and because a writer must make himself heard against a clamor of television, radio, amusement parks, highways--the many distractions of a civilization incessantly busy--he must be both humble and assertive. Unless he can get himself noticed, he is nothing; and if he gets himself noticed by cheating or out of mere vanity, he is less than nothing.  
   The prayer of anyone hoping to make himself into a writer should be: "Lord, let me grow into someone who has something to say! Let me be one of those that Henry James speaks of, one of those 'upon whom nothing is lost'. Let understanding and wisdom be engraved on my mind as deep as the lines of living on a wise and weathered face. Teach me to love and teach me to be humble and let me learn to respect human difference, human privacy, human dignity, and human pain. And then let me find the words to say it so it can't be overlooked and can't be forgotten." 
The Art and Power of Words
Only by means of words can the writer persuade a person of the truth in what he says or make anyone care about it. Possession of a weapon does not make a warrior or hunter, but no one is a warrior or hunter without one. Conrad and Frost could disparage the gift of words because both had it, supremely. Having had something to say, they found ways to say it. Frost wrote (in 'The Figure a Poem Makes'), "Like a piece of ice on a hot stove the poem must ride on its own melting." Here he compressed into a single image the whole process of artistic creation. Conrad, without his sensuously loaded language, could never have realized so spectacularly the literary purpose he set himself: ". . . by the power of the written word to make you hear, to make you feel.. . before all, to make you see. That and no more, and it is everything. If I succeed, you shall find there according to your deserts: encouragement, consolation, fear, charm--all you demand--and, perhaps, also that glimpse of truth for which you have forgotten to ask."The art of writing begins in the senses and is accomplished with words. Its end is communicated insight. When writing is successful, it communicates insight to the reader with a pang, a heightened awareness, a sharpening of feeling, and a sense of personal exposure, danger, involvement, or enlargement. The achievement of communicated insight unmistakably distinguishes the artist from the everyday user of words.  
Know What You Really Feel
Speaking of his apprentice years in Paris in the early 1920s, Ernest Hemingway said (in 'Death in the Afternoon'): "I was trying to write then, and I found the greatest difficulty, aside from knowing truly what you really felt, rather than what you were supposed to feel, and had been taught to feel, was to put down what really happened in action; what the actual things were which produced the emotion that you experienced. In writing for a newspaper you told what happened and, with one trick and another, you communicated the emotion aided by the element of timeliness which gives a certain emotion to any account of something that has happened on that day; but the real thing, the sequence of motion and fact which made the emotion and which would be as valid in a year or in ten years, or, with luck and if you stated it purely enough, always, was beyond me and I was working very hard to get it." 
   This passage suggests a simple-sounding but rigorous training program for any beginner: learn to see straight; practice with endless patience, stating purely what you find to say; and see it and state it with the aim of communicating not only its meaning but its most essential emotion, the thing that made it important to you in the first place.  
The Creative Writer as an Image Maker
Creative writing begins in the senses, and the stamp of the senses must remain on it. No one lacking acute senses and the willingness to use them should pretend to literature. Without senses the writer cannot create images, and images are his only means of making his reader hear and feel and see. By pure intelligence he can outargue a reader and convince him, but his intelligence must be supplemented by the equipment of sensuousness.  
   Not only must creative writers perceive in images, but they must communicate in them and the reader must read in them. Images are both source and means. An image is crystallized by the perceptions of the writer, is converted into words like a cable message being unscrambled, and finally is reconverted by the reader into something like the original perception.  
   The creative writer is concrete--that is, he is bound to things of experience. However strongly he holds his ideas, he cannot express them in the way a philosopher or a social scientist does. He does not deal in concepts or in formulated patterns of thought but in images and imitations. He is concerned with people, places, actions, feelings, and sensations. His fictional house should be haunted, not inhabited, by ideas; ideas should flit past the windows, not fill the rooms. The moment anyone tries to make poems or stories of ideas alone he is at the edge of absurdity; he can only preach, never interest and persuade, because ideas alone are simply not dramatic. They must be put into the form of people and actions to achieve their proper force. One Macbeth onstage is worth a thousand essays on ambition.  
   Sometimes a writer begins with ideas, as Nathaniel  
   Hawthorne did, and makes them into flesh and blood; sometimes he starts with flesh and blood, as Mark Twain did, and lets flesh and blood work themselves out into ideas. Either way he is steadily called upon to render the way life seems to him or to his imaginary characters. To make the reader feel this vividly, the writer makes use of all the senses he has. That is why literature overflows with such sensuous things as the hollowness of footsteps in a street at night; the fisting of anger in the pit of the stomach; the weight of hydrangeas brushed against in the summer dark; and the look and texture of the fuzzy down on the back of a fair-haired woman's neck.  
   Anyone attempting to write must take the trouble to know, and be able to express, the qualities of things: their hardness and smoothness and splinteriness, their heat and cold. A writer must observe and be able to communicate differing qualities of voice and gesture and the nearly invisible signs in eyes and mouth and hands and body by which people show their state of mind or emotion--fear and delight and loss. A writer must be able to stimulate the sweat glands and the hair follicles of his readers; make mouths water; turn stomachs; command tears, laughter, and scorn--all with words.  
   Most literary images are visual. Images, however, may just as properly involve any other sense or several senses at one time. Sometimes the images are heavily and damply auditory, as when Mark Twain's jumping frog leaps after a fly and alights on the counter "as solid as a gob of mud." 
   Sometimes the images are both visual and auditory, as in Robert Browning's "quick sharp scratch/And blue spurt of a lighted match." They may be tactile, as when John Keats, at the beginning of 'The Eve of St. Agnes', enforces on the reader's skin the very shrink and shudder of cold:  
St. Agnes' Eve--Ah, bitter chill it was! The owl, for all his feathers, was a-cold; The hare limped trembling through the frozen grass, And silent was the flock in woolly fold: Numb were the Beadsman's fingers, while he told His rosary, and while his frosted breath, Like pious incense from a censor old, Seem'd taking flight for heaven, without a death, Past the sweet Virgin's picture, while his prayer he saith.  
The Use of Figures of Speech
It is a common misconception that an image always involves a figure of speech. Often it does. The poet Francis Thompson in describing a poppy as a "yawn of fire" uses a metaphor. In comparing the sea and sky of a sunrise to the opening of a clamshell, D.H. Lawrence employs a simile. The Browning lines obtain their vividness from onomatopoeia (word-imitation of a sound). The Keats stanza, however, gets its total effect of coldness not entirely with figurative language. "Woolly fold" (metonymy, the use of one word for another that it suggests) is there as a contrasting image. The image of the frosted breath is primarily visual.  
   Sometimes direct and scrupulously accurate reporting can be as vivid as any figure of speech. Young Hemingway, learning to write by "beginning with the simplest things," did his best to avoid all such "cheating" as metaphor. Because all metaphorical language involves some explicit or implicit comparison and because a comparison is a sort of judgment, a writer aiming to be completely objective might well be suspicious of it. When T.S. Eliot says, in 'The Love Song of J. Alfred Prufrock', 
Let us go then, you and I, When the evening is spread out against the sky Like a patient etherised upon a table  
he reveals not only J. Alfred Prufrock's disenchantment, but he also reveals something about himself. Some distaste for crude life has been expressed in the comparison between sunset and an operating table.  
   On the other hand, an objective approach is illustrated by Hemingway's description of a trout stream in 'Big Two-Hearted River' (from 'In Our Time'): "He watched them holding themselves with their noses into the current, many trout in deep, fast-moving water, slightly distorted as he watched far down through the glassy convex surface of the pool, its surface pushing and swelling smooth against the resistance of the long-driven piles of the bridge . . ." Here the author only observes. He makes no judgment. There is no metaphorical leap, such as that in the Eliot lines, but only a reproduction of the thing seen. In later stories, especially in his novels, Hemingway wisely relaxed his ban against both metaphorical language and symbolism. Nevertheless his attempt to put the whole burden of vividness on the precision of observation was invaluable training. It was not unlike that which Gustave Flaubert set for his pupil, the future great short-story writer Guy de Maupassant, when he sent him out to report in a single phrase or a single word the content of an action. Whether arrayed in metaphor or stripped to bare observation, any creative writing must be concrete and must communicate by images. (See also Figures of Speech.) 
Different Ways of "Seeing"
Thomas Wolfe wrote in a letter to F. Scott Fitzgerald, who had been badgering him about his lack of economy and form: "Don't forget, Scott, that a great writer is not only a leaver-outer but also a putter-inner, and that Shakespeare and Cervantes and Dostoevsky were great putter-inners--greater putter-inners, in fact, than taker-outers and will be remembered for what they put in--remembered, I venture to say, as long as Monsieur Flaubert will be remembered for what he left out." (From 'The Crack-Up'.) 
   Wolfe himself was a mighty putter-inner. He could hardly let a character pass a hardware-store window without enumerating every tool in it; and the sights and sounds of afternoon in a familiar town set him into a sensuous frenzy: "Light came and went and came again, the great plume of the fountain pulsed and winds of April sheeted it across the Square in a rainbow gossamer of spray. The fire department horses drummed on the floors with wooden stomp, most casually, and with dry whiskings of their clean, coarse tails. The street cars ground into the Square from every portion of the compass and halted briefly like wound toys in their familiar quarter-hourly formula. A dray, hauled by a boneyard nag, rattled across the cobbles.. . . The courthouse bell boomed out its solemn warning of immediate three.. . ." (From 'The Hills Beyond'.) 
   This is a passage worth study, particularly for its choice of strong and active verbs: "pulsed," "sheeted," "drummed," "ground," "rattled," "boomed." It is certainly not seven eighths below the surface, as Hemingway said icebergs are and stories should be. It is piled on, heaped until it runs over.  
   Differing from either method is the impressionism of such a writer as Anton Chekhov, who said, "You will get the full effect of a moonlight night if you write that on the mill-dam a little glowing star-point flashed from the neck of a broken bottle, and the round, black shadow of a dog, or a wolf, emerged and ran." In that same impressionist manner, Stephen Crane carries the reader along with a fatally wounded soldier walking to some quiet place to die. The whole passage is like a prolonged silent scream, and it ends with a single staring phrase: "The red sun was pasted in the sky like a wafer." 
   Most potential writers are omnivorous readers, and in the nature of things an apprentice is sure to imitate. He has no other way to learn. Although he may try very hard to "develop a style of his own," his real style will be a long time in developing and will parallel or reflect the development of his own mind and sensibility. The best way to find the style that naturally fits him is to follow Hemingway's method and simply try to state purely whatever is before his eyes.  
Freedom in the Use of Natural Language
Nothing is so likely to hinder the freedom of expression so essential to true creative writing as a too-strict adherence to "correctness." This is not to say that correctness does not matter or that there is no distinction between good usage and bad usage. It is only to say that there should be growth and invention at all levels of language.  
   When Hemingway, in 'The Green Hills of Africa', remarked that "All modern American literature comes from one book by Mark Twain called 'Huckleberry Finn'," he was exaggerating. Nevertheless this work, containing the inspired lingo of Huck Finn, has had more effect on American literature and on the development of American speech than any other book.  
   Although Hawthorne was a good writer, any paragraph of his sounds old-fashioned and stilted. 'Huckleberry Finn', however, remains fresh and lively. An example is Huck's description of a river sunrise: "Not a sound, anywheres--perfectly still--just like the whole world was asleep, only sometimes the bullfrogs a-cluttering, maybe. The first thing to see, looking away over the water, was a kind of dull line--that was the woods on t'other side; you coudn't make nothing else out; then a pale place in the sky; then more paleness spreading around; then the river softened up away off, and warn't black any more, but gray; you could see little dark spots drifting along ever so far away--trading-scows, and such things; and long black streaks--rafts; sometimes you could hear a sweep screaking; or jumbled-up voices, it was so still, and sounds come so far; and by and by you could see a streak on the water which you know by the look of the streak that there's a snag there in a swift current which breaks on it and makes that streak look that way; and you see the mist curl up off of the water, and the east reddens up, and the river, and you make out a log cabin in the edge of the woods, away on the bank on t'other side of the river, being a wood-yard, likely, and piled by them cheats so you can throw a dog through it anywheres; then the nice breeze springs up, and comes fanning you from over there, so cool and fresh and sweet to smell on account of the woods and the flowers; but sometimes not that way, because they've left dead fish laying around, gars and such, and they do get pretty rank; and next you've got the full day, and everything smiling in the sun, and the song-birds just going it!" 
   Although not traditionally "correct," this passage is magnificent. It does what language was created to do. Twain has observed the scene with the greatest possible precision and found a way of stating it purely. The "bullfrogs a-cluttering," the "song-birds just going it," and the "wood-yard . . . piled by them cheats so you can throw a dog through it anywheres" are barbarisms skillfully handled, the kind of inventive and playful language that should not be suppressed. Barbarisms crop up in casual speech, in popular songs, even in advertising slogans. They exist as a kind of private language in the subculture of the American adolescent. They well up out of jazz and the jazz world. A young writer would make a mistake to be enslaved to subliterary languages, but he would be a fool to ignore them.  
   For the young creative writer there is no rule on language. There are only warnings, and they concern the extremes of choice. Bookish and literary language, the kind that half embarrasses its author when it is read aloud, is obviously a mistake. A mistake too is the affected overmasculine toughness that some young men adopt in the belief that it permits them to love literature without being called effeminate. Between those extremes anything that works is good, and a playful way with language is always better than a solemn one. When a tourist at Bryce Canyon, Utah, said to his wife as they got out of their car, "Well, shall we pace over and peer at it?" he was indulging in a playful attitude toward words. One would expect more from him in the way of true appreciation than from someone who braced himself solemnly and got ready to experience the feelings he thought he should have.  
The Use of Symbolism
In one sense, every word is a symbol. "Tree" is four letters and a certain sound, but it is also a thing with bark and leaves. Put into a context which includes the word Calvary it becomes a metaphor for the cross on which Christ was nailed. That kind of extension of meaning, which is called symbolism, is actually one of the most suggestive and economical ways of communicating the aesthetic experience.  
   A road and a town are specific things, but they become much more in A.E. Housman's 'To an Athlete Dying Young' (from 'A Shropshire Lad'): To-day, the road all runners come, Shoulder-high we bring you home, And set you at your threshold down, Townsman of a stiller town.  
   Here the symbolism is perfectly plain, on what Prof. Harry Levin of Harvard University called the conventional level. Much poetic symbolism is of this commonly accepted kind. A journey often symbolizes human life; a season often suggests the age of a man.  
   A symbolism less traditional is what Levin called the explicit. An example is this line by Henry Wadsworth Longfellow: "Thou, too, sail on, O Ship of State!" A third sort described by Levin is the implicit, which takes the reader into more ambiguous country. In Herman Melville's 'Moby-Dick', Moby Dick is more than whale, but what precisely is it? God? The spirit of evil? A manifestation of pure mindless force? No single explanation will fully satisfy. It is in this area of unexplained, private, or ambiguous meaning that much contemporary writing exists.  
   Again there are no rules for the student except that he should read, and read, and read, and fill his mind, and express what he wants to as well as he can. If he is sucked into the whirlpool of allegory, he may go down; many have. He is safe in the conventional and explicit levels, however, and reasonably safe in the implicit. When he begins using private symbols, disguising rather than revealing his thoughts, he risks exclusiveness and pedantry.  
   Of one thing, however, he can be sure: when the outward story or poem is solid, the symbolism, even though ambiguous, will take care of itself. Jonathan Swift's 'Gulliver's Travels', though representing far more than appears on its surface, remains a fascinating children's story. 'Moby-Dick' is still a tale of adventure. It does not attempt to cast a shadow without having any solid substance.  
The Problem of Point of View
The beginner should try all types of writing, but some forms will come more naturally to him than others. Short lyrics, short stories, and one-act plays are more within his scope than longer forms. He will learn most by making many beginnings and endings--the hardest parts of any piece of writing, and where, as Chekhov said, a man is most likely to lie.  
   Hiding himself is not a problem for the writer who chooses lyric poetry, because this is a very personal art. If he chooses fiction, however, particularly the short story, he will have to learn, like any good puppeteer, to keep his hands and feet from showing. Basic to all fictional writing is the problem of selecting the point of view from which one wishes to have the reader follow the story. Fiction is usually much less personal than the lyric poem and less bound to objectivity than the drama.  
   The writer of fiction, however he may pretend to be indifferent and invisible, is always there. He cannot help steering, cannot help providing some double vision, commentary, insight, or irony. If he wants a reader to participate intensely, he adopts the point of view of one of the characters in the story, sees through those eyes alone, thinks with that mind, knows nothing that that individual would not know. If he wants to imitate the dramatic, he pretends to be a camera. John Steinbeck does this in 'Of Mice and Men', a story which was written to fulfill at one and the same time the requirements of a novel and those of a play. If, as Chekhov, Conrad, Crane, and many others do, the writer wants to have the immediacy of drama but at the same time to keep the right of comment, then he has the subtle job of keeping himself out of his story while still making it say what he wants it to say.  
   Point of view is a complicated subject. Handling it, however, is a principal skill which a fiction writer must develop once he has perfected his gift of words. He must be in his story but not apparently in it; the story must go his way while appearing to act itself out. For this sort of skill, the short story is the best practice ground. It is so short that a flaw in the point of view shows up like a spider in the cream. It is so concentrated that it forces the writer to develop great economy and structural skill. It is so intense that, like a karate kick, it has great knock-down power.  
   A writer must knock readers down. This is the goal he must constantly have in mind: to make people listen, to catch their attention, to find ways to make them hold still while he says what he so passionately wants to say. Although creative writing as an intellectual exercise may be pursued with profit by anyone, writing as a profession is not a job for amateurs, dilettantes, part-time thinkers, 25-watt feelers, the lazy, the insensitive, or the imitative. It is for the creative, and creativity implies both talent and hard work.  
Situation, or Conflict
Alexandre Dumas said that to make a novel you need a passion and four walls. He might have added that to make a passion you need people "in a bind," in a situation charged with love, hate, ambition, longing--some tension that cries to be resolved. A beginning writer may have trouble finding his real situation. He may have only clues, characters, a place, an atmosphere, or the haunting association of ideas in his mind. In a novel he may even be able to grope for the situation through his first chapters. (One formula for the novel, proposed by Bernard De Voto, was to throw away the first five chapters and start with number six.) In a short story, however, the situation must be located at once, for even more than in a novel, a short story must start off running, must begin on a rolling slope as near the end as possible.  
   Because no situation can exist apart from what brought it about and what it leads to, the writer will be led both forward and backward from his germinal knot of tension. He must deal at least a little with the past, which in fictional technique is called summary or exposition; and he must deal with the dramatic present, which is called scene.  
The Dramatic Present, or Scene
To make a scene is to put characters onstage and let them act out their own story. The point of view may not be strictly objective--there may be some equivalent of the stage manager of Thornton Wilder's 'Our Town' lounging around somewhere--but any scene is essentially dramatic. It follows George M. Cohan's celebrated advice, "Don't tell 'em--show 'em." A scene must persuade the reader in all its aspects. The characters have to be credible and consistent. The dialogue must approximate real talk, without being cluttered by the monotony, fatuousness, and repetition of real talk. The action must move in a direct line, without wanderings or irrelevancies. An internal logic has to hold the scene together, beginning and middle and end. The setting must be sensuously realized and then never permitted to drop away and be forgotten.  
   If any object is important enough to be mentioned, it should be put to use. As Chekhov said, if you hang a gun on the wall at the beginning, it has to go off before the end. If there is a fireplace in a scene, characters should warm themselves by it or lean on its mantle, as part of their stage business.  
   One does not learn to do a job such as this by practicing whole paragraphs of description, whole chunks of setting or characterization. The elements interweave, and there are many balls to be kept in the air at once. A single paragraph may contain a fragment of action; a bit of dialogue that by its content or its manner and tone characterizes the speaker; a sensuous perception of some detail of setting; and a glance backward in memory, dialogue, or external comment to pick up a meaningful bit of the past.  
   Now for a few rules of thumb: (1) Start in the middle of things; begin in motion. (2) Stay in motion by not letting the summary intrude; keep the summary feeding into the scene in hints and driblets, by what Henrik Ibsen called the "uncovering" technique. (3) Never explain too much. Most readers are offended if they cannot use their imaginations, and a story loses much of its suspense the moment everything is explained. (4) Keep yourself out of your story; pick a point of view and (especially in the short story) stay with it. Nobody has less right in your story than yourself. (5) Do not show off or try to impress others with your style. The writing should match the characters and the situation, not you. This principle applies as well to obscenity and profanity as to other matters. They are appropriate only where character and situation call for such elements. (6) Nothing is to be gained by attempts to find substitutes for the word "said" in dialogue tags. "Said" is a neutral word that disappears. (7) Stopping a story is hard. Learn to do it cleanly, without leftovers or repetition.  
Wallace E. Stegner 
FURTHER RESOURCES FOR CREATIVE WRITING
Applebee, Arthur. Context for Learning To Write (Ablex, 1984).  Barkas, J.L. How To Write Like a Professional (Arco, 1984).  Barzun, Jacques. Simple and Direct, rev. ed. (Harper, 1985).  Beaugrande, Robert de. Writing Step by Step: Easy Strategies for Writing and Revising (Harcourt, 1985).  Burroway, Janet. Writing Fiction: A Guide to Narrative Craft (Little, 1987).  Clouse, B. The Student Writer: Editor and Critic (McGraw, 1986).  Donovan, Melissa. Teaching Creative Writing (Good Apple, 1990).  Phillips, K., and Steiner, B. Catching Ideas (Libraries Unlimited, 1988).  Smith, Frank. Writing and the Writer (Holt, 1985).  Stein, Gertrude. How To Write (Dover, 1975).  Stott, Bill. Write to the Point and Feel Better About Your Writing (Doubleday, 1984).  Strunk, William, Jr. and White, E.B. The Elements of Style, 3rd ed. (Macmillan, 1979).  Zinsser, William. On Writing Well: An Informal Guide to Writing Nonfiction, rev. ed. (Harper, 1985).  
RIGHTS AND PERMISSIONS
'Death in the Afternoon': Copyright 1932 Charles Scribner's Sons; renewal copyright (c) 1960 Ernest Hemingway.  'The Figure a Poem Makes' from 'Complete Poems of Robert Frost'. Copyright 1930, 1939 by Holt, Rinehart and Winston, Inc. Reprinted by permission of Holt, Rinehart and Winston, Inc. 'The Single Hound' by Emily Dickinson, copyright 1914, 1942 by Martha Dickinson Bianchi, by permission of Little, Brown & Co. The illustration--permission to reprint has been granted by the Publishers from 'The Poems of Emily Dickinson', edited by Thomas H. Johnson, The Belknap Press of Harvard University Press, Cambridge, Massachusetts, copyright 1951, 1955 by The President and Fellows of Harvard College.
 
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