Select any extract from any literary text and analyze it using the performative text approach. KOMUGISHA PERUTH, NAKKAZI DIANA, NYAFWONO ELIZA PATRICIA, NAFUNA EVELYN DINAH AND MUSUBIKA ELIZABETH

The origin of the term performativity can be traced back to J.L.Austins book, “How to do things with words”. In which Austin objecting to the logical positivists focus on the verifiability of statements, introduced the performative as a new category of utterance that has no truth value since it does not describe the world, but acts upon it-a way of “doing things with words” for example, the classic constative “snow is white” is descriptively true or false, but statements such as “I now pronounce you husband and wife” are something their successful outcome depending on a number of conditions (felicity condition) that cannot be evaluated in terms of truth. By the end of his book, Austin clearly argues that all utterances are performative even those that appear merely to describe a state of affairs since such utterances do the act of informing. This is a revolutionary conclusion for utterances must be viewed as actions. With Austin’s exposition, the broader area of speech act theory emerged within anthropology. Austin work had its most immediate impact on the paradigm of ethnography of speaking, and in particular on the study if ritual and performance. The performative theory involves three steps of reading and interpreting of literacy texts, which are; locutional level where by readers look at the mere statement of the author without attaching any meaning, the illocutional level in which readers look at intension of the author in making a certain utterance in a literary text, and lastly the perlocutional level where readers’ feeling and attitude towards a certain utterance in other words, the effect that a certain utterance achieves. The selected text is a poem by Frank Chipasula entitled, “A love poem for my country” and the analyzed part of the poem is stanza one which is written below; A LOVE POEM FOR MY COUNTRY. I have nothing to give you, but my anger. And the filaments of my hatred Reach across the boarder You, you have sold many and me to exile. Now shorn of precious minds you rely on What hands can grow to build Your crumbling image? According to the performative text approach, in locutional level, the author in this poem merely utters out his feelings towards his own country According to illocutional level, we look at the effective of the utterance which shows how the speaker is disappointed, disillusioned and betrayed his leaders. According to perlocutional level where we look at the reader’s attitude towards the utterance which is even portrayed in the title of the poem. “A love poem for my country”, it is not that the speaker is happy or loves his country but he is disgusted and betrayed this causes the speaker too to feel disgusted and irritated towards the ambiance that the speaker sheds in the poem.

Referring to any literally text familiar to you, Identify its various voices and explain how effectively the writer uses these voices to articulate its message. NAMUJJUZI JOANITAH

A voice is a person who tells the story in a literally text. And according to me, the literally text that’s familiar with me is the novel LORD OF THE FLIES. Lord of the fillies is a third person narration. This means an omniscient narrator. Someone who’s all knowing. Lord of the flies is an allegorical fiction by William Golding whose major intension was to portray the source of evil in man. Lord of the flies being the third person omniscient narrator shows the reader everything that’s is to be shown for example in a space of few pages in chapter eight, we get jack hunting “happy and wearing” the dump darkness of the forest like his old clothes and Simon watching the flies swarm black and indecent green on the pigs head and then piggy flashing pinky with pride when he understands that jack is accepting him, their fore these are three different characters in different places in the island Simons encounter with the pigs head and the head is trying to speak to him. This omniscient narrator uses his man character Ralph to portray events in the lord of the flies. Ralph as the protagonist, William uses him to bring out his character Their fore there two types of third person Narration i.e. 1. The Objective narrator who is invisible and reflects events as they happen but doesn’t offer his opinion. He also shows action in dialogue but never internal thoughts. 2. Subjective Narrator. This is the narrator who shows internal thoughts and characters in the scene. Eg the emotion of the character for example piggy being bullied by Simon and how Ralph felt about it. Through this kind of emotion, the narrator tries to connect to the reader and this portrays the effectiveness of the narration as elaborated in details below The effectiveness is evidenced in the character traits developed - Moods or atmosphere for example the pigs heads and Simons encounter - The themes in the novel lord of the flies therefore the omniscient narration makes us objective that jack is a wrong character as portrayed to his character traits The omniscient narrator also brings out the message in fewer words giving room to the reader to have his or her own perception about the characters in the novel. The omniscient narrator introduces readers to scenes at a distance for example when jack take the boys to hunt with piggy and Ralph, they ended up being mistreated. Jack denies piggy and they beat him up. The omniscient narrator brings out the secret events in the novel for example - The evil nature of man in the novel - How man had become a pure savage that he didn’t know himself

Select an extract from any literary text and analyse it using the performative text approach. NANYONGA HELLEN

Performativity is the term for the capacity of speech and communication not simply to communicate but rather to act an action. In 1971, a French philosopher, Jacques Derrida wrote an essay, the Signature Event Context. He presented a critic who is a language philosopher, J. L. Austin who says that the simple act of saying something is equivalent to accomplishing something and these cases he calls, performative utterances. In 1966, a book was established on how to do things with words. This approach introduced a new method of analyzing any piece of communication. An example from a religious person was given, “I hereby pronounce you husband and wife." In this case, simply saying the word has brought a certain state of affair into being. That is to say, marriage. According to this approach, any meaning of an utterance is understood in three levels; the locution, Illocution and perlocution. The locutional level is the first level of understanding hence, what is said in the utterance. The illocutional level is the second way of understanding which looks at the intention of the author in making a certain utterance hence answers the question of, “what is the text talking about? ” And lastly the perlocutional level which looks at the effect of the utterance. That is to say, how the statement influences achievement. Song Of Chickens by Jack Mpanje is the poem that am going to use to show how the performative text approach analyses utterances. Song Of Chickens Master, you talked with bows, Arrows and catapults once Your hands steaming with hawk blood To protect your chicken. Why do you talk with knives now, Your hands teaming with eggshells And hot blood from your own chicken? Is it to impress your visitors? Jack Mpanje At the locutional level, the title of the above poem, Song Of Chickens simply means that the chickens are singing. And in the first stanza, they begin with the utterance, “Master,” which simply means that the chickens are referring to their leader whom they refer to with a title of respect to the one who owns them. In other words, these chickens are singing for their master. Furthermore, the illocutional level helps us to know the intentions of the author of this poem into details. The poet gives the chickens a voice that helps them to make their expression towards their master. According to J. L. Austin, asking a question and making an assertion is an act of illocutional. Just like in the second stanza of the poem we see the assertions and various questions the chickens ask their master. “Why do you talk with knives now, Your eyes teaming with eggshells And hot blood from your own chicken? Is it to impress your visitors?” And also, at the perlocutional level, the last stanza of the poem is eliciting an answer from the master. The chickens are asking questions to the master and they are really in need of an answer. This shows that the chickens are disappointed in the betrayal, bloodshed and injustice of their master who is behaving in a very cruel manner. In a nut shell, the performative text theory of speech utterances, focuses attention on the illocutional, much less on the locutional and perlocutional level. This analysis brings about a deep understanding of a text as shown in the above levels. REFERENCES https/en.m.wikipedia.org/wiki/perfornative-text Ing. qc. edu/1021-perfomativity/performing text: orality literacy, performance ENGL78/ at Queens collage. J. L. Austin,(1973) How to do Things with Words, Second Edition, Oxford: Oxford University press.

Referring closely to any text that you have studied on the 3rd year literature course. Identify and discuss the prominent linguistic features contributed to its message. NAMALA LILLIANE, KABATONGOLE MARGRET AND AUJO JOSELINE AKABWAI

Linguistic structure approach attempts to lay down a vigorous metrology for analysis of any language.If employs language as its basic raw material e.g the words in songs language, charts, drama, poetry .This approach is based on the assumption that the meaning of a literary text is embedded in a linguistic structure i.e . (i) Writers manipulate the structure of language to communicate. (ii) Language being a system of communication used by a particular community consisting of words in a structured and conventional way. (iii) They work within all the rules of language to communicate. Therefore being a system comprises of different components such as; a. Phonology; system of linguistic sound structure. b. Morphology; is a structure of words. c. Syntax; is a structure of phrases and sentences. lexis also known as diction refers to the choice of words. Semantics refers to the meaning of words and phrases. d. Pragmatics; is how speakers or writers use language to communicate. e. Socio-dynamics: refers to the change in the meaning of words over time. f. Graphology refers to the physical manifestation of language. g. Phonetics refers to speech sounds. The linguistic structural approach emphasizes the fact that literary analysis,interpretation should pay attention to different levels of language and how these contribute to the articulation of writers meaning.   An extract from song of lawino. The woman with whom I share My husband Ocol is no longer in love with the old type; He is in love with a modern girl. The name of the beautiful one is Clementine Brother, when you see Clementine! The beautiful one aspires To look like a white woman; Her lips are red-hot Like glowing charcoal, She resembles the wild cat That has dipped the its mouth in blood, Her mouth is like raw yaws It looks like an open ulcer; Like the mouth of a field! Line dusts powder on her face And it looks so pale; She resembles the wizard Getting ready for the midnight dance. She dusts the ash-dirt all over her face And when little sweat Begins to appear on her body She looks like the guinea fowl! 1. lexis: the choice of words deployed by P’bitek the message, humorous and building the conflict between the speaker and the accused.FOR instance, he uses pronouns such as her, she, he and proper nouns such as Ocol and Clementine to identity the characters in the text. “ocol is no longer in love with the old type; he is in love with a modern girl The name of the beautiful one is Clementine….” As readers, we can easily relate with and a rouse our curiosity to know what exactly Lawino intends to say by identifying her characters Ocol and Clementine 4. According to graphology as the physical manifestation of language. The punctuation of a sentence determines which type of a sentence it will be that is to say interrogative, declarative and exclamatory. Okot Bitek uses all these types in the poem so as to bring out different significances. This is as seen below; The full stop is employed to show the conclusion of an idea. The poet puts this down when the speaker who is a woman is describing the other woman with whom she shares her husband’s with and says; “He is in love with a modern girl.” The full stop creates a pause .This sentence clearly shows us that the speaker has confirmed that her husband loves another woman who is a modern girl. The semi-colon extends an explanation and this vividly seen in the extraction poem. ‘The woman with whom I share my husband’ The ideas being raised in the poem are further explained in order to cause emphasis. For example through the illustration below that states. To look like a white woman; Her lips are red-hot Like glowing charcoal” .The exclamation marks used in the poem which is extract from song of Lawino are to bring out the amazement, a astonishment, wonder and shock that the husband makes over her. For example she assets that the mouth of the modern girl Clementine is like raw yaws and looks like an open ulcerr after saying all this she says like the mouth of a field! In stanza eight we note that she still does the same when claims that she looks like the guinea fowl. The powerful employment of short and long sentences cannot be left due it’s great significance in portraying the message in the poem. For instance the short sentences are mainly used In apiece of writing and in this case the poem. The long sentences are to explain more and illustrate the point. This is evidenced below when the speaker clearly puts it down that, ‘she resembles the wizard getting ready for the midnight dance.” Run on line for emphasis and give more information. Semantics refers to the meaning of words or phrases in a text. Semantics is believed to have both the denotative and the connotative meaning whereby the denotative meaning refers to the meaning of words or surface meaning and the connotative meaning refers to the literary meaning of the text.(authors intention) Semantics greatly contributes to the message in the text with whom she shares my husband in the following ways; ‘The beautiful one aspire to look like a white woman ,’ means that Clementine is bleaching herself. Her lips are red-hot like glowing charcoal means that she has used red lipstick. …Her mouth is like raw yaws; show that the mouth is disguisting just like the raw yaws. Further the meaning of the text is to show us the conflict which is dramatized by Lawino to enable her advance her against European culture. Denotative meaning is portrayed with the descriptive word Lawino uses to describe her co-wife. “her lips are-hot like glowing charcoal. her mouth is like raw yaws.” These words are demeaning and make Clementine look like a white woman. Yet connotatively, the words are simply highlightening the conflict and her argument against European culture. this gives us the authorial point of view the extreme colonialism an Africans. Some adhere for aspire to look white women. Phonetically , the extract presents several tones from a calm to a contemptuous tone. Brother, when you see then the criticism gathers momentum and builds upto a crescendo as we get horrible images in the process of which Clementine is disfigured from a beautiful one to an evitable guinea fowl.

Referring to any literary text familiar to you, identify its various voices and explain how effectively the writer uses these voices to bring out his message ASIIMWE RUTH

A voice in literature is the form or a format through which narrators tell their stories. It is prominent when a writer places himself / herself into words and provides a sense the character is real person conveying a specific message the writer intends to convey. In simple words, it is an author’s individual writing style or point of view. When a writer engages personally with a topic, in fact, he imparts his personality to that piece of literature. This individual personality is different from other individual personalities, other writers put into their own works. Thus, voice is a unique personality of a literary work. Depending upon the type of work, authors may use a single voice, or multiple voices. While identifying the function of voices in literature, itis necessary to consider the narrator’s degree of objectivity, reliability, andomniscience. Voices shows whose eyes readerssee the narrativethrough thatgives a personality to a literary piece. Moreover, a strong voice helpsmaking every wordcount, sets up consistency and most importantly grabs the readers’ attention. EdgarAllanPoe’ short story,The Tell-Tale Heart is an example of first person unreliable narrative voice, which is significantlyacknowledged, biased, childish and ignorant, who purposely tries to deceive the readers. As the story proceeds, the reader notices the voice is unusual, characterized by starts and stops. The character directly talks to the readers, showing highly exaggerated and wrought style.It is obvious that effectiveness of the story relies on style, voice and structure, whichreveal the diseased state of mind of the narrator. The point of view is an important aspect of telling the story. First person narration helps the reader to understand and follow the story from the narrator’s point of view. In this case it helps the reader to realize how insane the narrator is. Eventhough 1st person narration is not the best form of narration, as everything we read is the way the narrator looks at things, but it is the only way a reader can actually feel and experience what the narrator is experiencing. It helps the reader to get a good feel of the emotions, his state of mind and his madness.so I feel that in "The Tell-Tale Heart" first person narration plays an important part in enhancing the theme of madness. Edgar Allan Poe's classic horror story "The Tell-Tale Heart" is a monologue told completely from the viewpoint of one of its characters. The narrator is a mentally unstable murderer who asserts that he is sane despite his horrible acts and delusions that include hearing his victim's heart beat loudly after death. A narrator shapes a story's viewpoint. When Poe chose one of his story's characters as the storyteller, he was using a technique called first-person voice. A first-person narrator refers to himself as "I" and may participate in or witness the story's action. In "The Tell-Tale Heart," the narrator is the central participant. The narrator in "The Tell-Tale Heart" shares the story from his own, personal perspective; thus the story is told in a first-person point of view. By using personal pronouns such as I, me, and my, the narrator is able to tell his tale as only he can experience it. Any other point of view, like omniscient, for example, would give the audience a look into the minds of other characters in the story, not just the narrator's. The first-person point of view is what makes this story so chilling. At the beginning of the story, the narrator asserts that he is not "mad" but instead completely sane. As the story progresses, the reader comes to realize that he is truly insane and is therefore an unreliable narrator: his words cannot be trusted. The demented views of this narrator give the audience a disturbing look into the mind of a seriously sadistic person, and add to the author's overall haunting tone. The story opens in the first-person voice of the narrator, acknowledging that he has been very nervous. Yet he disavows madness, using the "evidence" that his hearing is keen and he's now relating the story calmly. The writer wants to reassure his audience that he loved the old man with whom he lived and has now killed -- and didn't want the old man's gold. He shifts to explaining how he accomplished the murder, with his only motivation being the old man's "pale blue eye, with a film over it." The reader isn't told exactly why this eye agitates or offends the narrator. The narrator describes how "a simple dim ray" from his lantern falls upon the old man's vulture-like eye each night as he steals into the older man's room. This is intriguing imagery, because lamps and lanterns can symbolize protection against evil. Poe seems to be having a bit of fun suggesting that the narrator's lantern is insufficient protection against the eye's power or perceived power. The narrator kills the old man on the eighth night, and recounts the process of dismembering the body and placing the parts under his floorboards. Three police officers arrive, who have been alerted by a neighbor who heard a shriek. The relentless heartbeat is another major symbol, suggesting the sound of the narrator's own conscience or fear. The writer assures the officers it was only a nightmare and provides them chairs after touring them through the home. They begin a friendly conversation, and as their calm chatter goes into the night, the narrator becomes increasingly agitated. He's certain that they also hear the beating heart and are toying with him. Soon he breaks down and reveals the location of the body. Poe repeats a number of words throughout this brief story for increased effect: louder and louder; very, very; and nervous, for example. The word "mad" is repeated a great many times. The story opens with the narrator's mysterious insistence that he has "heard all things in heaven and in the earth. I heard many things in hell." This strange claim is immediately followed by the contradictory question, "How, then, am I mad?" It also ties in with his use of the word "disease" to describe his nervous troubles as the story opens. Prior to the murder, he speaks of listening night after night to "the death watches in the wall," and projects this same act of nervous listening onto his victim. Poe's emphasis on ticking and beating in the story underscores the narrator's insanity plainly for the reader. The tale is told in the first person by the confessed murderer of an old man, and as the tale progresses, the reader quickly notices that all may not be as it seems with the narrator. From the very first paragraph, in fact, it is apparent that the voice in which the story is told is an unusual one, characterized by stops and starts, direct addresses to the reader, and an exaggerated and highly wrought style. The emotionally charged narrative hints to the reader that the narrator’s version of events may not be wholly reliable. When the tale begins, the main action -- that is, the murder and dismemberment of the old man -- has already taken place. While the reader is likely to be caught up in the horrific tale being revealed to him, the narrator’s focus seems to be very different, and the pace and structure of the narrative reflect that focus. Concerned primarily with convincing his listener of his level-headedness and sanity and the reasonableness of his actions, the story’s narrator circles around the main event, emphasizing not so much what happened but how it happened. Since the story is, more than anything, about the narrator’s emotional state, the most important moment is not the murder of the old man. The murder itself is given short shrift by the narrator, taking only one sentence to accomplish: “In an instant I dragged him to the floor, and pulled the heavy bed over him.” Rather, the real climax of the story occurs when the narrator’s perception of the sound of the old man’s heart pushes him closer and closer to panic, finally causing him to confess. Like the narrative structure, the narrative style of the story reflects the disordered, “nervous” state of the narrator’s mind. “Why will you say that I am mad?” the narrator demands of his listener. Stylistically, the narrator’s heavy use of exclamation points, dashes, repeated questions and assertions of his own sanity serves to heighten the emotional impact on the reader, pushing the reader toward an understanding of the narrator’s troubled mind. The author uses the first person point of view in describing his character. He uses the pronoun “I”. There is also use of second person because he uses the pronoun “you” and he is as if he is talking to you, commanding the reader to believe his thoughts. The author also uses third person narrative voice. Third person narrative voice employs category of third person point of view.He uses the pronoun “his” and “he” in describing the motions of the old man. Thus bringing out the theme of dehumanization and sadism, the old man is killed mercilessly and the narrator finds joy in killing. REFERENCES The Tell-Tale Heart; Edgar Allan Poe Poe's The Tell-Tale Heart; E. Arthur Robinson Ohio University: Points of View and Narrative Voice Poetry Foundation: Edgar Allan Poe -- 1809-1849 Poe Museum: Edgar Allan Poe Biography Mystery and Oddity in Edgar Allan Poe's The Tell-Tale Heart; Abadli Farida University of Michigan: Dictionary of Symbolism: The Lamp Bits and Pieces II -- Selected Quotations About Edgar Allan Poe

Select an extract from any literary text and analyse it using the performative text approach KISAKYE BARBRAH TRACE

Performative text approach derives from the term performativity which works hand in hand with terms such as performative and performance. The three words derive from the verb to perform. They denote the capacity to execute an action, carry something out actually and thoroughly and according to the prescribed ritual. An example is the act of saying “ I pronounce you husband and wife” by a priest, a judge pronouncing a verdict among others. The theory is sued in various disciplines and has been used and still used in a number of discussion. Scholars such as Jacques Derrida, Shoshan Felman Judith Butler have handled the concept in their fields such as feminism (Judith B), queer theory, deconstruction and psychoanalysis. In literary works, J.L Austin is acknowledged for the use of the theory. It derives from his founding work in speech act theory. He did not use the word performativity but did beginning in the 1950s give the performative utterances. According to him, saying something meant doing something. In his work “How to do things with words”, he states that a performative utterance can’t be said to be true or false as a “constative utterance” can be judged as either happy or inflictions” depending upon whether the conditions of required for its success have been met. In this sense, performativity is then a function of the pragmatics of language. Having shown that all utterances perform actions the constative inclusive, Austin famously discarded the distinction between performative and constative utterances. These resulted into the formation of a book which was later on replaced with three-level framework. These levels are;- Location, these are the actual words spoken which the linguists and linguistic philosophers of the day were mostly interested n analyzing. Illocutionary force. This is what the speaker is attempting to do in uttering the location. Perlocutionary effect:- It is the actual effect the speaker actually ahs a on the interlocutor by uttering the location. A poem titled “a poem” by Nichita Stannescu. It can aid in the illustration of the performative text approach using it’s 3 framework levels. Under the locution the words carry with them the dictionary meaning that is literary, they do not imply anything, they are not symbols nor images of anything they are plain. Under the illocutionary force, the words now carry with them what the speaker is saying and his intension, in the poem title “A poem the speakers says what will the person who could be the loved one do in case he kissed the arch of the loved ones’ foot, will he or she treasure it or not, the speakers’ intension is to know his or her stand in this person’s love life, does t she or he treasure him or her? So much that when he kissed the arch of his or her foot he would not want to step or it or he or her does not? Under the perlucutionary effect, the speaker’s actual effect on the interlocutor by uttering the locution is portrayed for the poem title a poem. The actual effect the speaker has on the interlocutor is the power to make the interlocutor recognize what the speaker’s thinks of him or her, the courage to make the interlocutor think of how to handle the kiss in case it came. The interlocutor realizes that he speakers context treasure his kisses. In conclusion, performative text approaches limits interpretation of a text to meaning in context. This becomes biased and thus deprives off the right of a work to be interpreted fully.   References Austin JL (1962). How to do things with words, P.5 John Searle (1979). Expression and meaning: Studies in the theory of speech acts, Cambridge University Press.

Referring closely to any literature text studied on your 3rd year course, identify and discuss the prominent linguistic features that contributes to its message. NANSUBUGA ASHA, MULOKI SHAMIM, NAKIDDE MOUREEN

PERCY BYSSHE SHELLY 1792-1822 OZYMANDIAS OF EGYPT I met a traveler from antique land Who said: Two vast and trunkless legs of stone stand in the desert. Never them on the sand, Half sunk, a sshatter’d- visage lies, Whose frown And Wrinkled lip and sneer of cold command Tell that it’s sculptor well those passions read Which yet survive, stamp’d on these lifeless things, The hand that mock’d them and heart that fed; And on the pedestal these words appear: My name is Ozymandias, King of king: Look on my works, ye might, and despair! Nothing besides remains. Round the decay Of that colossal Wreck, boundless and bare, The lone and level sands stretch far a way .   Linguistic features refer to elements of language. Language is broken down into aspects which work together to come with a complete text and meaning. These aspects or elements are; Lexis, morphology, phonology, syntax, semantics and graphology. In this poem, the speaker meets a traveler from an ancient place who narrates to him the ruine of Ozymandias. The scattered pieces of the desert with their emotional expressions of arrogance and pride still alive and well displayed on the half sunk visage. Only the legs still stand without a trunk. On the pedestal, Ozymandias declares his supreme authority and dares the powerful ones to marvel at his works and fear yet in actual sense the lonely sand of the desert surround his scattered self. Lexis, which is the prominent linguistic features in the poem, refer to choice of words. In other words, the diction that the poet selectively employs in a poem to make full meaning. Here, the poet uses nouns like, Land, Legs, desert, visage, King, Ozymandias through which we convey vivid images of the situation in the poem. Furthermore, the setting of the poem is clearly stated which also reveals the atmosphere of the poem. The poet mentally involves us in the poem through these nouns. The poet also uses adjectives such as ancient, trunkless, wrinkled, lifeless, lone, shattered, cold, boundless which display a vivid description of the images conveyed or event. We are able to see, using our mind’s eye, Ozymandias’ sculpture without a trunk, the broken pieces of his face with the arrogant and proud look, the widely stretched lonely environment of only sand in the desert. So through the adjectives, we ably tell the situation and implied character of Ozymandias. Also, the poet uses verbs like met, sneer, despair, mocked, stamped. Met, for instance brings to our realization the two voices in the poem. The speaker’s and narrator’s, sneer clearly portrays Ozymandias’ arrogance, despair reveals his pride. Such verbs unveil the underlying character of Ozymandias and the different voices in the poem. Morphology is another outstanding linguistic feature in the poem. Morphology refers to word formation, say, how words are formed from smaller units. The poet uses words like trunkless, traveler, lifeless. The poet adds suffixes on the root words to form the appropriate word. For example trunkless, which comes from the word trunk shows that Ozymandias’ sculpture did not have a trunk, lifeless reveals that his sculpture did not have any life or liveliness in it. Regarding this, we are able to attach the desired meaning to the poem. Some suffixes are ‘ed’ which indicate past tense. This then also indicates a drift of time and how it has shammed Ozymandias. Regarding this, we are able to attach the desired meaning to the poem. Phonology is also outstanding as a linguistic feature in the poem. It refers to sound patterns in a language. In the direct speech and reported speech. The direct speech is by the persona who meets a traveler, and further explains what the traveler narrates about Ozymandias which becomes the reported speech. During the narration, the narrator directly quotes Ozymandias’ words as displayed on the pedestal which read “My name Ozymandias king of kings.” The difference in speech levels, mostly the direct speech by Ozymandias provides first hand information and emphasises Ozymandias’ arrogant, authoritative and proud character. Further more, concerning Ozymandias’ words “Look on my works, ye might and despair!” The poet uses ‘ye’ which is the ancient version of the contemporary ‘you’ word. Through this, the aspect of the drift of time or difference in time is clearly put across as time has ashamed Ozymandias and rendered him a useless entity. Also, there is alliteration of in the poem. The poet uses the phrase ‘King of Kings’ in which there are consonant sounds repeated at the beginning of the words. This phrase emphasizes Ozymandias’ greatness and supremacy as he is a King of all the kings. The poet involves the /K/ sound. This sound is uttered with a certain authority which also contributes to the meaning of the poem This is in a way that it shows Ozymandias as a great and authoritative leader. Semantics refers to the meaning of words and phrases in the poem the poets uses different meanings to bring out the of the poem for example denotative and connotative meaning of the poem. Denotative meaning of this poem is that ozymandias was a proud king who under minded people (his subjects) which is portrayed in the poets description of ozymandias “whose frown and wrinled lip and sneer of cold command” which means that his facial expresses under minding his subjects since he take himself to be supreme than the rest. Further more the writer (poets) quotes ozymandias words directly form the pedestal which reads. “My name is ozymandias, king of kings”. Look on my works, ye mighty and despair” than any other being in his kingdom but his words have a shamed him since he is no more. Connotative meaning of the poem is that no man is immortal because of one point in time they all have to die despite the fact of ones mighty and powerfulness which is portrayed in the poem ozymandias of Egypt. Who consider himself to be superior than the rest of the people in his world but the words written on the pedestal mock him in that he dies and his kingdom is shattered therefore time has ashamed him and through the power of words which do not die we are able power of words which do not dies we are able to know about how powerful ozymandia was. Syntax is a structure of a phrase or phrases and sentences in a text and the poet uses a different sentence structure than the normal one which is supposed to be SVO (subject, verbs, object) for instances he uses sentences like; Near them on the sand, half sunk, a shattered visage lies Rather than Near them on the sand lies a half sunk shattered visage. This means that the emphasis is on the visage. … Tell that it’s sculptor well those passion read. Rather than …Tell that it’s sculptor read those passion well, here emphasis is on how explicit the passions were displayed on the visage. Look on my works ye mighty and despair! Rather than Look on my works, you mighty and despair! The emphasis is to the word “ye” which is written in Shakespearean English which focuses on a drift of time. Where the word would be “you” in current English. Graphology refers to the physical manifestation of language. In other wards the study of handwriting in terms of revealing character and also meaning of a particular text. Referring to Ozymandias’ of Egypt, the poet uses run on lines for concrete explanation. For example, the persona reports the words of the traveler, --- Who said, “Two vast and trunkless legs of stone stand in the desert. Near them, on the sand, Half sunk , a shattered visage lies whose frown, And wrinkled lip---” These run on lines enable ample explanation and description which helps us to visualize the events in the poem and understand it better. Also, the poet uses an exclamation mark. For example Ozymandias’ words on the pedestal read, “ Look on my works, ye mighty and despair!” The exclamation mark in this case emphasizes Ozymandias’ arrogant and patronizing character, also the proud tone is implied in the poem. Further more, the colons are also employed in the poem. For example “ I met a traveler from an antique land, who said: “Two vast and trunkless --- And on the pedestal these words appear: My name is Ozymandias ---” The colons differentiate the levels of speech, say, direct and reported. They also differentiate the words of the speaker from those of the traveler so through this, we realize the different voices in the poem. In addition to the above, the poet uses commas. For instance “ Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and shear of cold command” These set the pace of the poem. The reader is able to read the poem in the intended tone with the commas as guidelines for the pace. This indeed makes the poem more lively. Also, the poet uses direct and indirect speech ranging from persona to the traveler, “ I met a traveler from an antique land, Who said: “Two vast and trunkless legs---” These two levels of speech emphasize the drift or difference in time implying that Ozymandias’ reign was ancient since the traveler is also from an ancient land and the speaker, throughout the poem, simply reports what the traveler tells him. Lastly, the poem is a sonnet. It consists of fourteen lines. This style of writing considered ancient. Regarding the fact that the persona simply reports what he was told by the ancient traveler, there is a clear implication that Ozymandias’ reign was indeed ancient. In conclusion therefore, features of language complement each other to make full meaning of a text.