In:Style as Motivated Choice: In memory of Peter Verdonk (1934–2021)
Edited by Michael Burke and Joanna Gavins
[Linguistic Approaches to Literature 44] 2025
► pp. 80–92
Chapter 5“Truth is ugly”
Style, structure and tone in “Swansong”
Published online: 8 May 2025
https://doi.org/10.1075/lal.44.05mci
https://doi.org/10.1075/lal.44.05mci
Abstract
In this chapter I analyse the lyrics to “Swansong”, a relatively obscure song by the comedy duo Kit Hesketh-Harvey
(1957–2023) and Richard Sissons, known professionally as Kit and the Widow. “Swansong” is a sombre reflection on the impact of
humans on the natural world, and ends with a challenge to the reader/listener to consider their own culpability for the
environmental damage described in the text. It is, then, a text driven by a clear purpose, albeit one that was produced as
entertainment. In this respect, the text does not simply prioritise the poetic function of language (as is often the case in
poetry), wherein the focus is on the message for its own sake. “Swansong” also exploits the conative function of language,
which is aimed at directing behavior and action (it is aimed both at entertaining the reader/listener and at spurring them
into some kind of action). I argue that the text does this by creating tonal discrepancies between the structure and
propositional content of the lyrics, and between the propositional content and the music (Part XIII of Camille Saint-Saëns’s
orchestral suite Le Carnaval des Animaux). The stylistic analysis that I present aims to describe the means
by which this is achieved. Ultimately, I argue that a greater understanding of the means by which the text functions offers
insights into the nature of Roman Jakobson’s six functions of language, thereby demonstrating the utility of linguistic
stylistics.
Keywords: foregrounding, grammar, grammetrics, lyrics, metre, music, poetic function, tone
Article outline
- Introduction
- The Carnival of the Animals and “Swansong”
- Structure, music and context
- Poetic structure
- Grammatical structure and grammetrics
- Foregrounding in the final five lines
- Music, performance and tone
- Conclusion
Notes References
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