An Analisys Of Mood Types In William Shakespeare''s Play "Romeo And Juliet" A Systemic Functional Approach

AN ANALYSIS OF MOOD TYPES IN WILLIAM SHAKESPEARE’S

PLAY “ROMEO AND JULIET

”

_{: A SYSTEMIC FUNCTIONAL}

APPROACH

A THESIS

By :

DIAN FAZDILAH NASUTION

Reg. No. 040705027

NORTH SUMATERA UNIVERSITY

FACULTY OF LETTERS

ENGLISH LITERATURE DEPARTMENT

2008

ABSTRAK

Skripsi ini berjudul “AN ANALYSIS OF MOOD TYPES IN WILLIAM SHAKESPEARE’S PLAY “ROMEO AND JULIET” : A SYSTEMIC FUNCTIONAL APPROACH”. Skripsi ini bertujuan untuk mendapatkan jenis mood yang paling dominan dalam percakapan antara Romeo and Juliet dalam drama karangan Shakespeare dengan menerapkan teori systemic functional linguistic oleh M.A.K Halliday. Penulisan skripsi ini menerapkan studi kepustakaan dengan membaca serta mempelajari buku-buku, artikel, ensikolpedia, kamus yang berhubungan erat dengan topik yang dibahas. Untuk mendapatkan jenis mood yang paling dominan, data dianalisis berdasarkan mood system kemudian ditentukan jenis moodnya dan terakhir menggunakan formula yang dikembangkan oleh. Dari analisis data yang diperoleh menunjukkan bahwa penggunaan jenis mood indicative (declarative) sebesar 222 (82,7%) adalah yang paling dominan pada percakapan tersebut daripada indicative (interrogative) dan imperative.

ABBREVIATIONS

SFLT = Systemic Functional Linguistics Theory S = Subject

F = Finite R = Residue Adj = Adjunct Indc = Indicative decl = declarative intrr = interrogative Imprt = Imperative

TABLE OF CONTENTS

ACKNOWLEDGEMENT I

ABSTRAK II

TABLE OF CONTENTS III

ABBREVIATIONS IV

CHAPTER I INTRODUCTION 1

1.1Background of the study 1

1.2The problem of the study 5

1.3The objective of the study 5

1.4The significance of the study 6

1.5The scope of the study 6

1.6. Method of the study 6

1.7. Review of Related Literature 8

CHAPTER II THEORETICAL FRAMEWORK 10

2.1 Systemic Functional Linguistic Theory (SFLT) 10

2.2Metafunctions of Language 11

2.2.1Ideational Function 12

2.2.2Interpersonal Function 17

2.2.3Textual Function 19

CHAPTER III MOOD SYSTEM OF ENGLISH 21

3.1 Mood Elements 21

3.2 Mood Types 23

3.2.1 Indicative 24

3.2.2 Imperative 32

3.3 Residue 33

3.3.1 Predicator 33

3.3.3 Adjunct 35

CHAPTER IV ANALYSIS 40

4.1 Presentation of Data 40

4.2 Analysis 48

4.3 Findings 78

CHAPTER V CONCLUSIONS AND SUGGESTIONS 79

5.1 Conclusions 79

5.2 Suggestions 79

BIBLIOGRAPHY

ABSTRAK

Skripsi ini berjudul “AN ANALYSIS OF MOOD TYPES IN WILLIAM SHAKESPEARE’S PLAY “ROMEO AND JULIET” : A SYSTEMIC FUNCTIONAL APPROACH”. Skripsi ini bertujuan untuk mendapatkan jenis mood yang paling dominan dalam percakapan antara Romeo and Juliet dalam drama karangan Shakespeare dengan menerapkan teori systemic functional linguistic oleh M.A.K Halliday. Penulisan skripsi ini menerapkan studi kepustakaan dengan membaca serta mempelajari buku-buku, artikel, ensikolpedia, kamus yang berhubungan erat dengan topik yang dibahas. Untuk mendapatkan jenis mood yang paling dominan, data dianalisis berdasarkan mood system kemudian ditentukan jenis moodnya dan terakhir menggunakan formula yang dikembangkan oleh. Dari analisis data yang diperoleh menunjukkan bahwa penggunaan jenis mood indicative (declarative) sebesar 222 (82,7%) adalah yang paling dominan pada percakapan tersebut daripada indicative (interrogative) dan imperative.

CHAPTER I

INTRODUCTION

1.1 Background of the study

Language plays a crucial role in human life. Halliday (1994:106) says, “Language enables human to build up a mental picture of reality to make sense what is going on around them and inside them”. Language as a means of communication has been used and become a significant part of human life. This means that language is used to express thoughts, human’s needs, wishes, intentions and desires. Hornby (1995 : 473) says, ‘Language is feelings and desires by means of a system of sounds and sound symbols.” Then Sapir (1921:8) adds, “Language is purely human and non instinctive method of communication ideas, emotions and desires by means of system of voluntary produces symbols”. While Robin (2001 : 1) states “Language is related to linguistics, and linguistics itself is the scientific study of language”.

It has been mentioned that linguistics is scientific study of language. It is only fairly recently that linguistics has been accepted as independent discipline. Linguistics now covers as wide field with different approaches and different areas of investigation, for example: sound system (Phonetics, Phonology), sentence structure (Syntax), meaning system (Semantics, Pragmatics). In recent years, new branches of linguistics have developed in combination with other disciplines such as: Psycholinguistics, Sociolinguistics, Applied linguistics, Systemic Functional Linguistics and so on.

Systemic Functional Linguistic (SFL) is a theory of linguistics developed by Halliday. In this term, language is regarded as a social phenomenon. It views language as form of doing than knowing. Halliday (1978:40) also states, “…any text represents an actualization (a path through the system) at each level: the level of meaning, the level of saying (or wording to use the folk of linguistic term for the lexicogrammatical system) and of course the level of sounding or writing. In other words, language consists of three levels or strata, namely phonology/graphology (sounding or writing), lexicogrammatical (saying or wording), discourse or semantic (meaning).

Halliday (1978:21) also defines language as unit of Semantics, related to meaning and discourse. Language is a system of meanings. That is to say that, when people use language, their language acts the expression of meaning. Halliday views language learning how to mean; that is learning how to make meaning. Sinar (2002:39) states, “When human beings express their needs through language, they are making meanings”. All languages are organized around three kinds of meanings, “Ideational, Interpersonal, and Textual”. According to Halliday (1978:60) these are called “Metafunctions” which are the manifestations the lingu istic system of meaning which underlie all uses of language:

1. Ideational function is language as representation or reflection. 2. Interpersonal function is language as exchange or action 3. Textual function is language as message or relevance

This study is concerned with one of the Metafunctions only, that is the interpersonal function. The interpersonal function is realized by mood system of language. It is an interpretation of language in its function as an exchange. Most people do not know that

the language which they use in daily life is divided onto two main parts of mood system, mood and residue. They, especially fans of Shakespear do not know that when they read

Romeo and Juliet, a play by William Shakespeare the sentences they read there consist of mood and residue according to systemic grammar view. Reading the Romeo and Juliet’s text about the pattern of mood elements has motivated me to carry out this study because I was sure that I could understand and evaluate the written text and also could identify which the most dominant mood types in those text.

Discourse analysis is another focus of SFL. A discourse contains a complete unit of meaning that is the main object of the analysis. There are many writers who give definition of discourse. Followings are some of the definitions:

1. Cook (1989:6) states, “This latter kind of language-language in use, for communication is called discourse…”

2. Stubbs (1983:1) says, “Discourse is a language above the sentence or above the clause”.

3. Kredilaksana (1972:27) says, “ Wacana adalah bahasa terlengkap; dalam hierarki gramatikal merupakan satuan gramatikal tertinggi atau terbesar. Wacana ini direalisasiakan dalam bentuk karangan yang utuh (novel, buku, seri ensikolpedia, dan sebagainya) paragraph, kalimat, atau kata yang membawa amanat yang lengkap.”

4. Mc. Carthy (1995:5) says, “… discourse is concerned with kind of languages that the speaker or writer really use they it in particular context…”

We may conclude that discourse is written or spoken passage, it has the highest and complete grammatical unit, coherent and cohesive in meaning, it is formed from clauses, sentences and other units. The kinds of discourse are literary works, education fields, pedagogical sciences, sciences, children compositions, communication in the class between teacher and students, language in text books, translations, semiotic codes, films, symbols, comic strips, dramas, TV programmes etc. In this study, I analyze Romeo and Juliet’s conversations by applying a systemic functional approach. A drama usually consists of several acts then an act also consists of several scenes. In Romeo and Juliet, it consists of five acts. And each act consists of several scenes.

Shakespeare's tragic drama of the "star-crossed" young lovers Romeo Montague

and Juliet Capulet is best remembered for the famous balcony scene. Romeo Montague and Juliet Capulet are teenagers who fall deeply in love but their families are bitter enemies. They seize the moment and marry in secret, they make every effort to conceal their actions but these end in tragedy when Romeo, Juliet, Tybalt, Mercutio and Paris all die. The themes running through the play address the issues of the consequences of immature blind passion, hatred and prejudice. Romeo and Juliet who’s ultimately unite their language and dramatic effect. It was among Shakespeare's most popular plays during his lifetime and, along wit influence is still seen today, with the two main characters being widely represented as stretching back to Ancient Greece. Its plot is based on an Italian tale, translated into verse a

by inspiration for Romeo and Juliet. He borrowed heavily from both, but developed minor characters, particularly first published in a editions corrected it, bringing it more in line with Shakespeare's original text. Shakespeare's use of the use of subplots to embellish the story, has been praised as an early sign of his dramatic skill. Characters frequently compare love and death and allude to the role of fate. Since its publication, Romeo and Juliet has been adapted numerous times in stage, film, musical and operatic forms.

1.2 The Problems and the formulation of the problems

In accordance with the title of this thesis, there are two problem as the object of the present study:

1. The types of mood found in Romeo and Juliet 2. The most dominant type of the mood in the drama As the problems can be formulated as follows:

a. What types of mood found in the drama of Romeo and Juliet? b. What type of mood is the most dominant in that drama?

1.3 The Objective of the study

The objectives of doing this study are:

1. To find out the types of mood in the drama of Romeo and Juliet.

1.4. The Significance of the study

The significances of this study are expected to help the learners of SFL theory to analyze the mood elements found in text especially text of literature such as drama. Since Romeo and Juliet is a famous drama by a well-known play-write, it will be advantageous for us to know how dialogues are structured in the drama based on mood of various types.

1.5 The Scope of the study

It is very important to limit the analysis and the object of the analysis in order to get a clear and satisfied result. Therefore, in this study the analysis has been focused on the mood elements only. Whereas as the object of the analysis is drama text of Romeo and Juliet by William Shakespeare. The text chosen was only the conversations that occurs between Romeo and Juliet as the major characters in the play, excluding other characters. Their conversation only occurs in Act II of scene two.

1.6 Method of the study

Usually, data can be collected either by doing a field research or doing library research or the combination of both. In this study, only the library research was done. It was done by selecting some books which are relevant to the analysis.

In analyzing the data, have been taken. Firstly, the texts from was collected from Romeo and Juliet’s conversation in the Act II of scenes two, then chose those related to mood elements. Secondly, the conversation text is divided into clauses then classify them into mood. A clause is the highest and complete unit of language since this unit can be

analyzed in terms of the metafunctions; Ideational, Interpersonal, and Textual. For example:

ROMEO:

“He jests at scars that never felt a wound”. (Act II, Scene 2) This sentences consist of two clauses, they are :

1. he jests at scars

2. that never felt a wound

After dividing them into clauses, each clause was classified into mood element and the mood type of each clause was defined. As exemplified below:

1. _{“He jests at scars}

He jests at scars

S F P Adj

Mood (Indc, decl) R

2. that never felt a wound”.

that never

felt a wound

F P C

Mood (Indc, decl) R

Finally, after all clauses had been analyzed, the most dominant mood types in those conversation text could be determined.

In order to get the most dominant mood types, the following formula from Bungin

(2005:172) was used: x100% N

fx n=

n = percentage of types

fx = total types of the sub-category N = total of all categories

1.7 Review of Related Literature

In completing this thesis some books related to SFL had been used. The books used are listed below:

“Phasal and Experential Realizations In Lecture Discourse : A Systemic Functional Analysis” (Dissertation) written by Teungku Silvana Sinar (2002). This dissertation is about the phasal and realizations in lecture discourse by using the approach of systemic Functional Theory. It explains that relational process as the most prominent transitivity and existential process as the least prominent. This dissertation is used to support in completing the thesis.

“An Analysis of Six Types of Transitivity Process in Kangguru Radio English Scripts” (Thesis) by Rahma W.Mandasari (2005).This thesis analyzes six types of transitivity process based on Systemic Functional linguistics theory. This thesis states that the material process is the most dominant in Kangguru Radio Scripts which the scripts as the object of the analysis.

“An Analysis of Mental and Behavioral Process in When My Girl Comes Home By V.S Pritchet : A Systemic Functional Approach” (Thesis) by Evelyn Diana R.N (1995).The writer analyzes the mental process and behavioral process in a novel by V.S Pritchet based on the systemic theory. As the result of her analysis behavioral process is a process of behaving where this kind of process is put between the material and mental process.

“Bahasa dalam Konteks Sosial: Pendekatan Linguistik Fungsional Sistemik Terhadap Tata Bahasa dan Wacana” (Textbook) written by Amrin Saragih (2003). This book

provides the Systemic Functional Linguistics theory using Indonesian language as the model and applies it into Indonesian social context.

CHAPTER II

THEORETICAL FRAMEWORK

2.1Systemic Functional Linguistics (SFL)

Systemic Functional Linguistics (SFL) is a theory about language as a resource for making meaning which is situated in context of situation and a context of culture. SFL was developed by M.A.K Halliday, a professor of Linguistics from University of Sydney, Australia. This theory is based on Firth’s system structure theory. Firth developed Malinowski concepts of context of situation and context of culture. According to Halliday (1985:130), “ Systemic theory is a theory of meaning as choice, by which language or any other linguistic system is interpreted as networks of interlocking options : ‘either this or that, or the other’, ‘either more like the one or more like the other’, and so on”. Then, Sinar (2002:71) in her dissertation Phasal and Experential in Lecture Discourse : A Systemic Functional Analysis explains the abbreviation of SFLT in order to ease the meaning of SFLT such as the following :

“The letter “S” for “systemic” implies three main senses, that is study pays attention to (1) the systemic relations and their choices in probabilities in system network of relations and choices starting from general to specific features, which are vertical or paradigmatic in nature. (2) the systems of meaning that are involved and interrelated with respect to the phenomena being investigated and (3) the systems of meaning that lie behind, below, around, above or beyond the phenomena being investigated. The use of letter “F” for “functional” implies three main senses, namely, that this study pays attention to (1) the functional realizations of the system in structures and patterns, which are structurally horizontal syntagmatic in nature, (2) the semiotic functions or meanings that are at work or in operation, and (3) the semiotic functions or

meanings that operate in various semiotic levels and dimensions. The letter “L” for “linguistics” here is used to imply two main senses, namely, (1) that the framework of this study belongs to and derives from a ‘discipline’ called “linguistics”, (2) in its investigation of the phenomena this study applies a language-based approach which is interpreted as being semiotic, thematic and transdisciplinary in nature. The letter “T” for “theory”, which is bound to the “SFL” and taken together as one term in this context, carries the meaning that this study adopts a theory that would be referred to by many as representing a particular theory within the so-called linguistics”.

It is obvious that when analyzing a text, the grammar becomes a prominent thing to describe how language works. SFL believes that grammar and meaning are closely related. Grammar becomes a study of how meanings are built up through of words when language acts are performed as the expression of meaning. The way how language work involves the idea that a language consists of a set of system, each of it offers the speakers or writers a choice of ways expressing meanings because the form of the language that is used by a speaker represents meanings. In short, we make a meaning through our choice and use of works and systemic study of language in use is how we make sense of our meanings.

2.2The Metafunctions of Language

When human beings express their needs through language, they are making meanings, which is a functional language. It means that language is doing a function. According to Halliday there are three functions or meanings of language, they are ideational function, interpersonal function and textual function. These are called “Metafunctions of Language”. The ideational, the interpersonal and the textual function are related to the grammatical functions and are realized by clauses.

2.2.1 Ideational Function

Ideational function consists of two sub functions: the experential and the logical. The experiential function is concerned with the context or ideas, while the logical function is concerned with the relationship between ideas.

The experiential or representational function of language is realized by the transitivity system of language, which is interpreted as what is going on process relating to material actions, events, states and relations. Halliday (1994:107-109) has linguistically classified the various processes into six principle processes types: (1) material, (2) mental, (3) relational, (4) behavioral, (5) verbal, (6) existential. These processes consist of three elements, they are: (1) Processes itself, according to the characteristics is realized by verb or phrase of verb, (2) The participants in process, according to the characteristics is realized by noun or phrase of noun, (3) Circumstances associate with the process, is realized by adverb or phrase of preposisition.

1) Material Process

Material process is processes of material doing or happening physically, in which involve some other participant or entity. They are Actor, the entity or which does something and Goal, the entity which maybe done. For example:

I was waiting for so long

I was waiting You for so long

Actor Process : Material Goal Circumstances

Mental process is processes of sensing: feeling, thinking and perceiving which involves some other participants, Senser is by definition a conscious being for only those who are conscious can feel, think and see, and Phenomenon is that which is sensed, felt, thought or seen. For example:

I see a light in the sky.

I see a light in the sky

Senser Process : Mental Phenomenon Circumstances

3) Relational Process

Relational process involves states of being including, whose central meaning is something (attribute, identity). They can be classified according to whether they are being used to identity something or to assign a quality to something. Process which establishes an identity is called Identifying process which has the participant roles as Token and Value. While the process which assigns a quality is called Attributive process which has the participants roles as Carrier and Attribute.

a. Identifying Process

Identifying process is not about describing or classifying, but defining. The meaning of an identifying intensive is that “X serves to define the identity of Y”. In this process, the participants roles are Token and Value. Token stands for what is being defined, while

Value defines. For example:

But very wise was he

But very wise was he

All identifying clauses are reversible; as shown below:

But he was very wise

Value Identifying Token

Halliday (1985:115) points out that “Semantically token will be a ‘sign’, name, form, holder or occupant of value which gives the meaning, referent, function, status or role. While, value is the nominal group which contains the name which gives the classification. Token will always be subject in active clause, while, value will always be subject in the passive form.

b. Attributive Process

In Attributive sub type, a quality, classification or descriptive epithet is assigned to a participant (carrier) which is realized by noun or nominal group. Attribute is a quality or epithet ascribed to carrier (means that “X carriers attribute a”) while carrier (means X member of class a”). On the contrary to identifying clauses, the essentially characteristics of the attributive clauses is that they are not reversible. For example:

It was dark

It was dark

Carrier Attributive Attribute

These Identifying and attributive processes as the means for sub classified of Intensive, Possessive and Circumstantial. Beside, be, there are some verbs in Intensive such as: stay, become, feel, appear, equal, call, mean, and define and so on. In Possessive

such as: have, own, belong to, involve, contain, provide and so on. While in Circumstantial are take up, follow, accompany, cost, last and so on.

4) Behavioral Process

Behavioral processes are processes of physiological and psychological behavior, which may involve breathing, dreaming, snoring, smiling, hiccupping, looking, watching, listening, and pondering. There is one obligatory participant: Behaver. Like a Senser, the

behaver is a conscious being. But the process is one of doing, not sensing. For example:

I am not looking any more

I am not looking any more

Behaver Behavioral Circumstances

Behavioral process can contain a second participant that is a Range: a restatement of the processes. This participant is called the Behavior. For example:

He smiles a broad smile

He smiles a broad smile

Behaver Behavioral Behavior

If there is another participant which is not restatement of the processes, it is called Phenomenon. For example:

I wacth you

I watch You

5) Verbal Process

Verbal process is processes of saying or of symbolically signaling. In verbal process, there are three participants are involved, they are: (1) Sayer, that is the participant responsible for verbal process who encodes a signal source, (2) Receiver, that is the one to whom the verbal process is directed or the one to whom the verbalization is addressed, (3) Traget, that is an entity or object is aimed at. The message which is addressed is called Verbiage. For example:

Everyone told me

Everyone told Me

Sayer Process: Verbal Receiver

We spoke of many things

We spoke of many things

Sayer Verbal Target

He tells the truth to the court

He tells the truth to the court

Sayer Verbal Verbiage Receiver

6) Existential Process

Halliday (1994:142) defines, “Existential process as a process of expressing something that exists or happens.” These processes are typically realized by be verbs (am, is, are, was, were, be, been, being) and other verbs such as exist, arise or some other

verbs representing existence which, together with nouns or nominal groups, represents the participant function as Existent. For example:

There was a boy

There was a boy

Existential Existent

2.2.2 Interpersonal Function

Interpersonal meaning is an interpretation of language in its function as an exchange, which is doing function of language; it is concerned with language. This meaning represents the speaker’s meaning potential as intruder that takes into account the interactive nature of relations between the addresser (speaker/writer) and the addressee (listener/reader).

Interpersonal function as clause of an exchange that represents speech role relationship. Halliday (1985d: 68-71) suggests,” Whenever two people use language to interact, one of the things they do with it is establishing a relationship between them”. In this, Halliday (1994:68-69) also sets out two most fundamental types of speech role or function: (1) giving and, (2) demanding.

The interpersonal meaning of language (clause) in its function as an exchange, in which clauses of the interpersonal meaning that function as clauses of exchange representing the speech role relationship, is realized by the Mood System of language. The mood system of clause is represented by the mood structure of the clause, which comprises two major elements: (1) mood, and (2) residue. In this case, the functional constituents that are involved in an exchange typically have mood-residue structures. A

mood element of English consists of a subject and finite, whereas residueelement consists of a predicator, one or more complements, and any number of different types of adjunct. For discussion of the interpersonal meaning in this sense, it will be discussed in the next point.

An act of speaking is an interact, i.e. an exchange, in which there is something either given, which implies there is something received , or else demanded, which implies there is something given. If not, there is no interaction. In other words, in an interaction involving speaker and listener, the speaker is either giving something, which implies that the listener is receiving something or else demanding something, which implies that the listener is giving something in response. What is exchange (demanded/given or given/received) is a kind of commodity, and the commodity exchanged falls into two principal types: (1) goods and services, and (2) information. These two variables or types of commodity exchanged define the four primary speech functions of (1) offer, (2)

command, (3) statement, and (4) question, examples: (1) May I help you? (offer)

(2) Don’t shed a tear! (command)

(3) I had to escape, the city was sticky and cruel. (statement) (4) Is that all right? or Who are you? (question)

Have ever been in love? (question)

These speech roles in exchange and commodities exchanged are shown in the table below.

Commodity Exchange Role in Exchange

Goods and Services Information Giving

Gramatical Realization :

Offer :

Would you have tea pleased?

Statement :

Love can touch us one time. Mood :Indicative,

Interrogative, Yes-No Type, Positive

Mood : Indicative, Declarative, Non-Exclamative, Positive Demanding Gramatical Realisation Command : Go away! Question :

What do you think about love?

Mood : Imperative, Negative

Mood: Indicative, Interrogative, WH-Question, Positive.

2.2.3 Textual Function

The textual meaning of language is an interpretation of language in its function as a message, which is a text-forming function of language. This is interpreted as a function that is intrinsic to language itself, but it is at the same time a function that is extrinsic to language, in the sense that it is linked with the situational (contextual) domain in which language (text) is embedded.

At the clause level, the textual meaning is concerned with how intra-clausal elements are organized to make meanings. At the text level, it is concerned with how inter-clausal elements are organized to form a unified whole text that makes meanings. In this, the textual function indicates the way the text is organized or structured.

The textual meaning of language (clause) in its function as a message is realized by the

theme system of language (clause). The theme system of the clause is represented by the thematic structure of the clause, which comprises two major elements: (1) theme, and (2) rheme. At the clause level, the theme is realized as the departure point of the clause for

the message. Halliday (1994:37) defines, “The Theme is one element in a particular structural configuration which, taken as a whole, organizes the clause as a message; this is the configuration of Theme + Rheme. A message consists of a Theme combined with a Rheme. Within that configuration, the Theme is the starting-point for the message; it is the ground from which the clause is taking off.”

The clause theme structure is a grammatical structure, which arises out of semantic choices made at each of the grammatical ranks of group, clause and sentence. The hypothesis is that different types of thematic progression correlate with stylistic differences while the contents of themes correlate with the nature of a text. On the other hand, the rheme is the part of the message in which the theme is developed. In an analysis of a thematic structure of a text, it is possible to examine language in terms of Halliday's three metafunctions - the textual, the interpersonal and the ideational. For example:

Right, students, today we _{focus to the grammar} Textual Interpersonal topical

Theme R h e m e

As the above clause represents, the theme choices in the language may be of three kinds: (1) textual, (2) interpersonal, and (3) topical. The topical theme creates the topic that the speaker (we) chooses to make the point of departure of the message. The interpersonal theme Eggins (1994:278) occurs at the beginning of a clause when a constituent is assigned a Mood label (the unfused Finite, Modal Adjuncts: Mood, Polarity, and Comment). One example of this is the address term students shown in the clause above. The textual theme give thematic prominence to textual elements and has the function of linking one clause or clause element to another clause or clause element, whereby all clauses or clause elements are related to each other as such that they form a unified whole text within contexts (see the

Right in the illustration). The rheme is focus to the grammar, which is the part of the message to which the theme is developed.

CHAPTER III

Mood Systems of English

3.1 Mood Elements

Previously, it has been explained that interpersonal meaning of language (clause) in its function as an exchange is realized by the Mood System of language. The mood system of clause is represented by the mood structure of the clause, which comprises two major elements: (1) mood, and (2) residue. In this case, the functional constituents that are involved in an exchange typically have mood-residue structures. A mood element of English consists of a subject and finite. Subject, when it first appears, may be a nominal group. As Halliday (1994:72) says, “Finite is one of the small number of verbal operator expressing tense (e.g. is, has, do) or modality (e.g. can, must)”. Subject and finite are closely linked together and combine to form one constituent which we call the Mood. While, residue element consists of a predicator, one or more complements, and any number of different types of adjunct. For example:

It was a dark now

It was a dark now

Subject Finite Residue adjunct

Mood Residue

Halliday (1994:75-76) explains, “(1) The Finite element, as its name implies, has the function of making the proposition finite. That is to say, it circumscribes it; it brings the proposition down to the earth, so that it is something that can be argued about. A good way to make something arguable is to give it a point of reference in the here and now; and this is what the finite does. It relates the proposition to its context in the speech event. This can be done in one of two ways. One is by reference to the time of speaking;

the other is by reference of the judgment of the speaker. An example of the first is was in

I was waiting for so long; of the second can in You can run. In grammatical terms, the first is called Primary tense and the second is called Modality. (i) Primary tense means past, present or future at the moment of speaking, they give tense to finite. For example: (Past) I drove all night to get to you, (Present) all the universes is calling, (Future) I’ll swallow my pride. (ii) Modality means the speakers judgment of the probabilities, or the obligations, involved in what he is saying. In other words, its relevance specified in modal terms. For example: (Can) You can start again, (Will) love will find a way, (Had to) I had to escape, etc. but there is one further feature which is an essential concomitant of finiteness, that is Polarity. This is the choice between the positive and negative. In order for something to be arguable, it has to be specified for polarity. So as well as expressing primary tense or modality, the finite element also realizes a polarity feature. Each of the operators appears in both positive and negative form: did/didn’t, can/can’t and so on.

Table (2) Finite Verbal Operators (Halliday, 1994:76)

Temporal Operators

Past Present Future

Positive did, was, had, used to does, is, has will, shall, would, should Negative

didn’t, wasn’t, hadn’t, didn’t + used to

doesn’t, isn’t, hasn’t

wont, shan’t, wouldn’t, shouldn’t

Modal Operators

Low Median High

Positive can, may, could, might

will, would, should, is/was to

must, ought to, need, has/had to Negative needn’t, doesn’t/

didn’t,

won’t, wouldn’t, shouldn’t

mustn’t, oughtn’t to, hasn’t to, hadn’t to

(2) Subject is realized by a nominal group nominal, which supplies the rest of what it takes to form a proposition: namely, something by reference to which the proposition can be affirmed or denied. It provides the person or thing in whom is vested the success or failure of the proposition, what is ‘held responsible. For example: Everyone told me to be strong, the subject of this sentence is I because it can be identified by the tag test: the element that gets pick up by the pronoun in tag is the subject. In order to uncover the subject of any clause, you need simply to tag the clause. Every one told me to be strong, (don’t they)”.

3.2 Mood Types

The exchange of information typically occurs through the grammatical system of an

indicative mood type. Within this system, a statement is usually realized by a non-exclamative declarative type but it could also be realized by an exclamative declarative

type; and a question is usually realised by an interrogative which may be of a polar (yes/no)

type or a content (wh-) type. The exchange of goods-&-services typically occurs through the grammatical system of an imperative mood type. Within this system, an offer is usually realised by a positive imperative type but it could also be realised by some other mood type, for example by a polar (yes/no) interrogative sub-type of the indicative mood type; and this holds true with a command. For a simple 'system network' of the English mood types, see the figure below.

3.2.1 Indicative

Indicative mood types has two major kinds. They are declarative and interrogative. For more discussion, it will be given in the following:

(1) Declarative

Eggins (1994:166) defines, “declaratives is a clause which has a mood element, even though that mood element may sometimes be ellipsed. For example:

Henry James wrote a letter

Henry James wrote a letter

Subject Finite Predicator Complement

Mood Residue

I that example above, the Subject precedes the Finite, Predicator, Complement and Adjunct. This is typical S^F^P^C^A structure of declarative clause. We shall now explore the structure of other clauses types. Although we will not need to identify any new constituents, what becomes important is how the constituents of Subject, Finite, Predicator, Complement and Adjunct are ordered with respect to each other. Kind of Declarative is Exclamative. Exclamative structures, which are used in interaction to express emotions such as surprise, disgust, worry, etc, are a blend of interrogative and declarative patterns. Like the WH-interrogatives, they require the presence of a WH element, conflated with either a Complement or an Adjunct:

WH conflated with a Complement (part or Residue):

What a great writer Henry James was!

Residue Mood

WH conflated with Attributive Complement (part or Residue):

How amazing be was!

WH/Attribute Subject Finite

Residue Mood

WH conflated with an Adjunct (part of Residue):

How fantastically Henry James wrote!

WH/Adjunct Subject Finite Predicator

Residue… Mood …..Residue

Structurally, the clause has the pattern of the declarative, with the Subject preceding the Finite: WH/C ^S ^ F ^ P ^ A

The typical response to an exclamative move is polarity (of agreement or disagreeme) involving ellipsis of all but the Polarity Adjunct:

What great books Henry James was writing last century!

- Yep.

Adjunct : polarity Mood

Sometimes ellipsis may leave the Subject, a Mood Adjunct, and the Finite. For example:

He sure was

Subject Adjunct: mood Finite

Mood

(2) Interrogative

English offers two main structures for asking questions: polar interrogatives (yes/no questions) or WH-interrogatives (questions using who, what, which, where, when, why, how).

1. Polar interrogatives

The structure of the polar interrogative involves the positioning of the Finite before the subject. For example:

Simon is reading Henry James

Subject Finite Predicator Complement

Mood Residu

Is Simon reading Henry James ?

Finite Subject Predicator Complement

Mood Residue

In cases where the related declarative contained a fused Finite/Predicator (i.e. simple past and simple present of verbs), we need to introduce a Finite element to place before the Subject. This Finite element is typically the auxiliary verb do:

Simon learnt the English language from Henry James

Subject Finite Predicator Complement Adjunct:

Did Simon learn the English language from Henry James ?

Finite Subject Predicator Complement Adjunct

Mood Residue

With the verb to be, which does not have a Predicator in the simple tenses, the structure of the polar interrogative is as follows:

Is he a physicist ?

Finite Subject Complement

Mood Residue

With the verb to have, which also does not have a Predicator in the simple tenses in the declarative, we find that to construct the polar interrogative we need to fill both the Finite and Predicator slots, usually by introducing the word got or have as the Predicator:

Simon has a copy of ‘The Bostonians’

Subject Finite Complement

Mood Residue

Does Simon have a copy of ‘The Bostonians’?

Finite Subject Predicator Complement

Mood Residue

Has Simon got a copy of ‘The Bostonians’?

Finite Subject Predicator Complement

Polar interrogatives as initiating moves are responded to by elliptical Declarative clauses. The type of ellipsis that is common is to just get a Modal adjunct of Polarity, or a Mood adjunct expressing probability:

Does Simon have a copy of ‘The Bostonians’?

- Yes Adjunct : polarity

Mood

- No Adjunct : polarity

Mood

- Maybe Adjunct : mood

Mood

Or ellipsis may be of the Residue:

Does Simon have a copy of ‘The Bostonians’?

- He does.

Subject Finite

2. WH-interrogatives

In a WH-interrogative, we need to recognize the presence of a WH element. This

WH element is always conflated or fused with another element of clause structure. It may be conflated with either the subject, the Complement or a Circumstantial Adjunct,

and is shown as constituent of the Mood or Residue according to the status of the element with which it is conflated.

WH element conflated with Subject (part of Mood)

Who wrote ‘The Bostanians’?

WH/Subject Finite Predicator Complement

Mood Residue

WH element conflated with Complement (part of Residue)

What does ‘quantum leap’ mean?

WH/Complement Finite Subject Predicator

Residue… Mood ...Residue

WH element conflated with Circumstantial Adjunct (part of Residue)

When did Henry James Write ‘The Bostanians’?

WH/Adjunct Finite Subject Predicator Complement

Residue…. Mood …..Residue

The WH element specifies which element is to be supplied in the expected response. Typically responding moves involve ellipsis all but the necessary information:

- Henry James

Subject Mood

When did Henry James write ‘The Bostanians’ ?

- Late 19th century

Adjunct:circumstantial Residue

When the WH element is used in a be-clause, it can sometimes be difficult to determine whether the WH element is conflated with the Subject or the Complement. For example:

Who was Henry James ?

Who is the author of ‘The Bostonians’?

To determine the structure of these clauses, provide an answer to the question and then analyze the structure of the answer:

Who was Henry James?

Henry James was the author ‘The Bostanians’

Subject Finite Complement

Mood Residue

So, WH/Complement.

‘The Bostanians’ was Henry James’ most famous book.

Subject Finite Complement

Mood Residue

So, WH/Subject. A further test is to change the form of the verb from the simple to the continuous form (is – is being). Where the WH is conflated with the Complement, the other clause participants will occur before the Predicator:

Who is Henry James?

Who is Henry James being ?

WH/Complement Finite Subject Predicator

Residue… Mood …..Residue

Where the WH is conflated with the Subject, the other clause participants will occur after the Predicator :

Who is the author of The Bostonians ?

Who is being the author of ‘The Bostonians’?

WH/Subject Finite Predicator Complement

Mood Residue

Where the WH element is conflated with the Subject, the typical structure of the WH-interrogative is similar to structure of the declarative, with the Subject preceding the Finite:

Who had read ‘The Bostonians’ at school?

Where the WH element conflates with either the Complement or Adjunct, the typical structure is that of the polar interrogative, with the Finite element preceding the Subject:

Who did Henry James write about?

WH/C ^ Finite ^ Subject ^ Complement ^ Adjunct

When did Henry James write ‘The Bostanians?

WH/C ^ Finite ^ Subject ^ Complement ^ Adjunct

3.2.2 Imperative

In Imperatives the Mood element may consist of Subject + Finite, Subject only, Finite only, or they may have no Mood element. There will always be a Predicator.

Don’t you put it there (Subject + Finite)

Let’s put it there (Subject)

Don’t put it there (Finite)

Put it there (No Subject or Finite) Commands are variable in their realization:

Turn it down. (Imperative)

Will you turn it down please? (Polar-interrogative)

You really ought to turn it down. (Declarative)

Why don’t you turn it down? (Wh-interrogative)

Offers also don’t have a typical grammatical realization.

Like a coffee ? (Polar Interrogative)

I’ll make some toast. (Declarative)

I’ll turn it up, shall I? (Declarative + tag)

As we can see, there is no one-to-one correspondence between semantic and grammatical categories. Despite this, we rarely have any trouble distinguishing between commands and questions: for example, when a mother carrying a load of groceries into the house says to her son, Can you move your gym boots? The context provides an interpretative frame and only rarely do we misunderstand the speech function of an utterance. This is one reason why we need a theory of language in which context is a central nation. As Halliday (1994: 95) suggests, “There is rarely any misunderstanding, since the listener operates on the basic principle of all linguistic interaction – the principle that what the speaker says makes sense in the context in which he is saying it”.

3.3 Residue

Residue of the clause is that part of the clause which is somehow less essential to the arguability of the clause than is the mood component. Just as the Mood element contained the constituents of Subject and Finite, so the Residue contains a number of functional elements: a predicator, one or more complements, and any number of different types of adjunct.

3.3.1 Predicator

Halliday (1994:79) says, “The predicator is present in all major clauses, except those where it is displaced through ellipsis”. It is realized by a verbal group minus temporal or modal operator, which as we have seen functions as Finite in the Mood element. For example: I was waiting for so long.

I was waiting for so long

Subject Finite Predicator adjunct

Mood Residue

The verbal group contains two elements: was waiting. The first part of the verbal group, was, is the finite as it carries the selection for number, tense, polarity etc. the second verbal element, waiting, tells us what process was actually going on. This element is Predicator. Eggins (2004:155) defines, “Predicator is that it fills the role of the specifying the actual event, action or process being discussed”. Additionally, Halliday (1994:79) claims, “there are two verbs in English which in simple past and simple present tense appear as Finite only, without being fused with a distinct element as predicator. These are “be” and “have”. For example:

The city was cruel

The city was cruel

Subject Finite Complement

Mood Residue

I have a dream

I have a dream

Subject Finite Complement

Mood Residue

3.3.2 Complement

Eggins (2004:157) says, “complement as a non-essential participant in the clause a participant somehow affected by the main argument of proposition”. It is defined as an element within the residue that has the potential of being subject but is not.

A complement can get to be subject through the process of making the clause passive. For Example:

Every child creates a skylight

Every child creates a skylight

Subject Finite Predicator Complement

Mood Residue

A skylight is created by every child

A skylight is creates by every child

Subject Finite Predicator Complement

Mood Adjunct

3.3.3 Adjunct

Adjunct can be defined as clause element which contribute some additional (but non-essential) information to the clause. They can be defined as elements which do not have the potential to become subject. They are not nominal group but are adverbial, or prepositional. For example:

I see a light in the sky

I see a light in the sky

Subject Finite Predicator Complement Adjunct

Mood Residue

(1) Circumstantial Adjuncts answer the questions ‘how’, ‘when’, ‘where’, ‘why’, ‘about what/matter’, ‘to whom’, ‘with whom’, ‘by whom’. For example:

A kindly neighbour moved his coal supply out of his half

“In the backyard of his home” and “out of his half” are adjuncts, answering the question ‘where’.

The symphony was played badly by an amateur orchestra during a concert Saturday night at the Performing Arts Centre.

“badly” is an Adjunct, answering the question ‘how’.

“by an amateur orchestra” is an Adjunct, answering the question ‘by whom’.

“during a concert” and “Saturday night” are Adjuncts, answering the question ‘when’. “at the Performing Arts Centre” is an Adjunct, answering the question ‘where’.

There are several other types of Adjuncts. One of these is centrally relevant to the analysis of mood. The two which fall outside of Mood structure are Conjunctive Adjuncts and Comment Adjuncts.

(2) Conjunctive Adjuncts include items such as ‘for instance’, ‘anyway’, ‘moreover’, ‘meanwhile’, ‘therefore’, ‘nevertheless’. These Conjunctive adjuncts fall outside of analysis of mood. That’s why ‘as’, ‘so as’ and ‘then’ in the following examples are left unanalyzed.

asthe work proceeded so as to give Henry more room

The work proceeded to give Henry more room

Subject Fin. Pred. Pred. Comp. Comp

Mood Residue Residue

Then, men like ford started to use the production line

Men started to use the production line Subject Fin. Pred. Complement

Mood Residue

(3) Comment Adjuncts express the speaker’s comment on what he or she is saying. It includes such items as ‘frankly’, ‘apparently’, ‘hopefully’, ‘broadly speaking’, ‘understandably’, ‘to my surprise’. Hence, ‘unfortunately’ in the clause below is shown as a comment adjunct and ‘however’ as the clause below is shown as a Comment Adjunct but neither fall within the Mood-residue structure. Example:

Unfortunately however they were too late

Unfortunately however they were too late

Comment Adjunct Conjunctive Adjunct Subj. Fin. Comp.

Mood Residue

(4) Mood Adjuncts, on the other hand, both express interpersonal meanings and do fall within Mood structure, more particularly within the Mood element. Mood Adjuncts relate specifically to the meaning of the finite verbal operators, expressing probability, usuality, obligation, inclination or time.

The principal items functioning as Mood adjuncts include the following:

Adjuncts of polarity and modality:

(a) Polarity : (b) Probability

(c) Usuality

(d) Readiness

(e) Obligation

Not, yes, no, so

Probably, possibly, certainly, perhaps, maybe.

Usually, sometimes, always, never, ever, seldom, rarely.

Willingly, readily, gladly, certainly, easily.

Definitely, absolutely, possibly, at all cost, by all means.

(f) Time : (g) Typically

Yet, still, already, once, soon, just

Occasionally, generally, regularly, mainly

Adjuncts of mood : (h) Obviousness : (i) Intensity :

(j) Degree :

of course, surely, obviously, clearly Just, simply, merely, only, even, actually, really.

Quite, almost, nearly, scarcely, hardly, absolutely, totally, utterly, entirely, completely.

Thus, in the following, ‘surely’, ‘of course’, and ‘already’ are analyzed a Mood adjuncts and are included in the Mood element:

Surely he wasn’t being serious

Mood Adjunct Subj. Finite Pred. Complement

Mood Residue

Of course she had already met him

Mood Adjunct Subj. Fin. Mood adjunct Pred. Complement

Mood Residue

She had already met him of course

Subj Fin Mood Adjunct Pred. Comple. Mood Adjunct Residue

Mood

Be aware that the same word can function differently in different structural configurations:

She can’t hear clearly on the phone

Subj. Finite Pred. Circumstantial Adjunct Circ. Adjunct

Where ‘clearly’ is a Circumstantial adjunct, telling ‘how’.

Clearly the man was innocent

Mood Adjunct Subject Finite Complement

Mood Residue

CHAPTER IV

AN ANALYSIS

4.1 Presentation of data

In chapter I, it has been explained that the data used are only conversations between Romeo and Juliet. The conversations are in Act II, scene 2.The following below are the conversations.

ACT II Scene 2

Capulet's orchard. Enter ROMEO

ROMEO:

“He jests at scars that never felt a wound”. JULIET appears above at a window

But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun.

Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief, That thou her maid art far more fair than she: Be not her maid, since she is envious;

Her vestal livery is but sick and green And none but fools do wear it; cast it off. It is my lady, O, it is my love!

O, that she knew she were!

She speaks yet she says nothing: what of that? Her eye discourses; I will answer it.

I am too bold, 'tis not to me she speaks: Two of the fairest stars in all the heaven, Having some business, do entreat her eyes To twinkle in their spheres till they return. What if her eyes were there, they in her head?

The brightness of her cheek would shame those stars, As daylight doth a lamp; her eyes in heaven

Would through the airy region stream so bright That birds would sing and think it were not night.

See, how she leans her cheek upon her hand! O, that I were a glove upon that hand,

That I might touch that cheek! JULIET:

“Ay me!” ROMEO: “She speaks:

O, speak again, bright angel! for thou art As glorious to this night, being o'er my head As is a winged messenger of heaven

Unto the white-upturned wondering eyes Of mortals that fall back to gaze on him When he bestrides the lazy-pacing clouds And sails upon the bosom of the air”. JULIET:

“O Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name;

Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet”.

ROMEO:

[Aside]” Shall I hear more, or shall I speak at this?” JULIET:

“Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What's Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part

Belonging to a man. O, be some other name! What's in a name? that which we call a rose By any other name would smell as sweet; So Romeo would, were he not Romeo call'd, Retain that dear perfection which he owes Without that title. Romeo, doff thy name, And for that name which is no part of thee Take all myself”.

ROMEO:

”I take thee at thy word:

Call me but love, and I'll be new baptized; Henceforth I never will be Romeo”.

JULIET:

”What man art thou that thus bescreen'd in night So stumblest on my counsel?”

ROMEO:

”I know not how to tell thee who I am: My name, dear saint, is hateful to myself, Because it is an enemy to thee;

Had I it written, I would tear the word”. JULIET:

”My ears have not yet drunk a hundred words Of that tongue's utterance, yet I know the sound: Art thou not Romeo and a Montague?”

ROMEO:

”Neither, fair saint, if either thee dislike”. JULIET:

”How camest thou hither, tell me, and wherefore? The orchard walls are high and hard to climb, And the place death, considering who thou art, If any of my kinsmen find thee here”.

ROMEO:

”With love's light wings did I o'er-perch these walls; For stony limits cannot hold love out,

And what love can do that dares love attempt; Therefore thy kinsmen are no let to me”. JULIET:

”If they do see thee, they will murder thee”. ROMEO:

”Alack, there lies more peril in thine eye

Than twenty of their swords: look thou but sweet, And I am proof against their enmity”.

JULIET:

”I would not for the world they saw thee here”. ROMEO:

”I have night's cloak to hide me from their sight; And but thou love me, let them find me here: My life were better ended by their hate, Than death prorogued, wanting of thy love”.

JULIET:

”By whose direction found'st thou out this place?” ROMEO:

”By love, who first did prompt me to inquire; He lent me counsel and I lent him eyes. I am no pilot; yet, wert thou as far

As that vast shore wash'd with the farthest sea, I would adventure for such merchandise”. JULIET:

”Thou know'st the mask of night is on my face, Else would a maiden blush bepaint my cheek For that which thou hast heard me speak to-night Fain would I dwell on form, fain, fain deny What I have spoke: but farewell compliment! Dost thou love me? I know thou wilt say 'Ay,' And I will take thy word: yet if thou swear'st, Thou mayst prove false; at lovers' perjuries Then say, Jove laughs. O gentle Romeo, If thou dost love, pronounce it faithfully: Or if thou think'st I am too quickly won, I'll frown and be perverse an say thee nay, So thou wilt woo; but else, not for the world. In truth, fair Montague, I am too fond,

And therefore thou mayst think my 'havior light: But trust me, gentleman, I'll prove more true Than those that have more cunning to be strange. I should have been more strange, I must confess, But that thou overheard'st, ere I was ware, My true love's passion: therefore pardon me, And not impute this yielding to light love, Which the dark night hath so discovered”. ROMEO:

”Lady, by yonder blessed moon I swear That tips with silver all these fruit-tree tops.” JULIET:

”O, swear not by the moon, the inconstant moon, That monthly changes in her circled orb,

Lest that thy love prove likewise variable”. ROMEO:

JULIET:

”Do not swear at all;

Or, if thou wilt, swear by thy gracious self, Which is the god of my idolatry,

And I'll believe thee”. ROMEO:

”If my heart's dear love.” JULIET:

”Well, do not swear: although I joy in thee, I have no joy of this contract to-night: It is too rash, too unadvised, too sudden; Too like the lightning, which doth cease to be Ere one can say 'It lightens.' Sweet, good night! This bud of love, by summer's ripening breath, May prove a beauteous flower when next we meet. Good night, good night! as sweet repose and rest Come to thy heart as that within my breast!” ROMEO:

”O, wilt thou leave me so unsatisfied?” JULIET:

”What satisfaction canst thou have to-night?” ROMEO:

”The exchange of thy love's faithful vow for mine”. JULIET:

”I gave thee mine before thou didst request it: And yet I would it were to give again”. ROMEO:

”Wouldst thou withdraw it? for what purpose, love?” JULIET:

”But to be frank, and give it thee again. And yet I wish but for the thing I have: My bounty is as boundless as the sea, My love as deep; the more I give to thee, The more I have, for both are infinite”. Nurse: [calls within]

”I hear some noise within; dear love, adieu! Anon, good nurse! Sweet Montague, be true. Stay but a little, I will come again”.

Exit, above

ROMEO:

”O blessed, blessed night! I am afeard. Being in night, all this is but a dream, Too flattering-sweet to be substantial”.

Re-enter JULIET, above

JULIET:

”Three words, dear Romeo, and good night indeed. If that thy bent of love be honourable,

Thy purpose marriage, send me word to-morrow, By one that I'll procure to come to thee,

Where and what time thou wilt perform the rite; And all my fortunes at thy foot I'll lay

And follow thee my lord throughout the world”. Nurse:

[Within] “Madam!” JULIET:

”I come, anon. But if thou mean'st not well, I do beseech thee”.

Nurse:

[Within] “Madam!” JULIET:

”By and by, I come,

To cease thy suit, and leave me to my grief: To-morrow will I send”.

ROMEO:

”So thrive my soul”. JULIET:

”A thousand times good night!”

Exit, above

ROMEO:

”A thousand times the worse, to want thy light. Love goes toward love, as schoolboys from their books,

Retiring

Re-enter JULIET, above

JULIET:

”Hist! Romeo, hist! O, for a falconer's voice, To lure this tassel-gentle back again!

Bondage is hoarse, and may not speak aloud; Else would I tear the cave where Echo lies,

And make her airy tongue more hoarse than mine, With repetition of my Romeo's name”.

ROMEO:

”It is my soul that calls upon my name:

How silver-sweet sound lovers' tongues by night, Like softest music to attending ears!”

JULIET: ”Romeo!” ROMEO: ”My dear?” JULIET:

”At what o'clock to-morrow Shall I send to thee?” ROMEO:

”At the hour of nine”. JULIET:

”I will not fail: 'tis twenty years till then. I have forgot why I did call thee back.” ROMEO:

”Let me stand here till thou remember it.” JULIET:

”I shall forget, to have thee still stand there, Remembering how I love thy company.” ROMEO:

”And I'll still stay, to have thee still forget, Forgetting any other home but this.” JULIET:

”Tis almost morning; I would have thee gone: And yet no further than a wanton's bird; Who lets it hop a little from her hand,

Like a poor prisoner in his twisted gyves, And with a silk thread plucks it back again, So loving-jealous of his liberty.”

ROMEO:

”I would I were thy bird.” JULIET:

”Sweet, so would I:

Yet I should kill thee with much cherishing. Good night, good night! parting is such sweet sorrow,

That I shall say good night till it be morrow.”

Exit above

ROMEO:

”Sleep dwell upon thine eyes, peace in thy breast! Would I were sleep and peace, so sweet to rest! Hence will I to my ghostly father's cell,

His help to crave, and my dear hap to tell”.

4.2 Analysis

Based on the data above, which represents the conversation between Romeo and Juliet in Act II scene 2. Then, the data will be analyzed as follows;

1. _{“He jests at scars}

He jests at scars

S F P Adj

Mood (Indc, decl) R

2. that never felt a wound”.

that never

felt a wound

F P C

Mood (Indc, decl) R

3. ”But, soft! what light through yonder window breaks?

But, soft!

What light

through yonder window breaks?

S F P

Mood (Indc, intrr) R

4. It is the east, and

It is the east and

S F C Adj

Mood (Indc, decl) R

5. Juliet is the sun.

Juliet Is the sun

S F C

Mood (Indc, decl) R

6. Arise, fair sun, and

Arise, fair sun, and

F P C adj

Mood (Indic, decl) R

7. kill the envious moon,

Kill the envious moon

F P C

8. Who is already sick and,

Who is already sick and,

S F Adj C Adj

Mood (Indc, intrr) R

9. _{pale with grief,}

(Who is) already pale with grief

S F Adj C Adj

Mood (Indc, intrr) R

10. That thou art far more fair than she:

That

thou her art far more fair than she

S F Adj

Mood (Indc, decl) R

11. That her maid art far more fair than she:

That

her maid art far more fair than she

S F Adj

Mood (Indc, decl) R

12. Be not her maid,

Be not her maid,

F P Mod.Adj C

Mood (Indc, decl) R

13. since she is envious;

since She is envious

Adj S F C

R Mood (Indc, decl) R

14. Her vestal livery is but sick and

Her vestal livery is

but

sick

and,

S F C

Mood (Indc, decl) R

15. Her vestal livery is but green

Her vestal livery is

but

green

S F C

Mood (Indc, decl) R

16. And none but fools do wear it;

And

None

but

fools do wear it

Adj S F P C

17. cast it off.

Cast it off

F P C Adj

Mood (Indc, decl) R

18. It is my lady, O,

It is my lady O,

S F C Adj

Mood (Indc, decl) R

19. it is my love!

It is my love

S F C

Mood (Indc, decl) R

20. O, that she knew

O, that she knew

Adj S F P

R Mood (Indc, decl) R

21. she were!

she were

S F

Mood (Indc, decl)

22. She speaks yet

She speaks yet

S F P Adj

Mood (Indc,decl) R

23. she says nothing:

she says nothing

S F P C

Mood (Indc, decl) R

24. what of that?

What of that

S + (F) C

Mood (Indc, intrr) R

25. Her eye discourses;

Her eye discourses;

S F

26. I will answer it.

I will answer it

S F P C

Mood (Indc, decl) R

27. I am too bold,

I am too bold

S F Adj

Mood (Indc, decl) R

28. 'tis not to me

‘tis (is) not to me

S F C

Mood (Indc, decl) R

29. she speaks:

She speaks

S F P

Mood (Indc, decl) R

30. how she leans her cheek upon her hand!

How she learns her cheek upon her hand

S F C

Mood (Indc, decl) R

31. do entreat her eyes

do entreat her eyes

F P C

Mood (Indc, decl) R

32. they return.

They return

S F P

Mood (Indc, decl) R

33. What if her eyes were there,

What if her eyes were there

C S F Adj

R Mood (Indc, intrr) R

34. The brightness of her cheek would shame those stars,

The brightness of her cheek would shame those stars

S F P C

35. Would through the airy region stream so bright?

Would

through the airy region stream so bright

F S Adj

Mood (Indc, intrr) R

36. That birds would sing and

That birds Would sing

S F P

Mood (Indc, decl) R

37. That birds would think

That birds Would think

S F P

Mood (Indc, decl) R

38. it were not right

It were not right

S F Adj

Mood (Indc, decl) R

39. See,

See,

F P

Mood (Indc, decl) R

40. O, that I were a glove upon that hand,

O, that I were a glove upon that hand

Adj S F C Adj

R Mood (Indc, decl) R

41. That I might touch that cheek!

That I might touch that cheek

Adj S F P C

R Mood (Indc, decl) R

42. “Ay me!”

Ay me!

F C

Mood (Indc, decl) R

43. “She speaks:

She speaks

S F P

44. O, speak again, bright angel!

O, Speak again, bright angel!

Adj F P Adj C

Mood (Impr) R

45. for thou art

For thou art

S F

Mood (Indc, decl)

46. As glorious to this night, being o'er my head

As glorious to this night being o’er my head

Adj Adj P Adj

R Mood (Indc, decl) R

47. As is a winged messenger of heaven

As Is a winged messenger of heaven

S F C Adj

Mood (Indc, decl) R

48. Of mortals that fall back to gaze on him

Of mortals That fall back to gaze on him

S Adj F P P Adj

Mood (Indc, decl) R

49. When he bestrides the lazy-pacing clouds

When He bestrides the lazy pacing clouds

C S F P C

R Mood (Indc, decl) R

50. And sails upon the bosom of the air”.

And Sails upon the bossom of the air

Adj F P Adj

R Mood (Indc, decl) R

51. “O Romeo, Romeo! wherefore art thou Romeo?

wherefore Art thou Romeo?

C F S

R Mood (Indc, intrr)

52. Deny thy father and

Deny thy father And

F P C Adj

53. refuse thy name;

Refuse thy name

F P C

Mood (Impr) R

54_{. Or, if thou wilt not,}

Or if thou wilt not,

Adj S F

R Mood (Indc, decl)

55. be

Be

F P

Mood (Indc, decl) R

56. _{but sworn my love,}

but

Sworn my love

F P C

Mood (Indc, decl) R

57. And I'll no longer

And

I ‘ll no Longer

S F Adj

Mood (Indc, decl) R

58. _{be a Capulet”.}

be a capulet

F P C

Mood (Indc, decl) R

59. Shall I hear more, or

Shall I hear? more

or

F S P Adj

Mood (Indc, intrr) R

60.shall I speak at this?”

Shall I Speak at this?

F S P Adj

Mood (Indc, intrr) R

61.“Tis but thy name that is my enemy;

‘Tis but thy name that is my name

S F C

62. Thou art thyself,

Thou Art thyself

S F C

Mood (Indc, decl) R

63. though not a Montague.

though (it + is) not a Montague

Adj F C

Mood (Indc, decl)

64. What's Montague?

What Is Montague?

S F C

Mood (Indc, intrr) R

65. it is nor hand,

it Is Nor hand

S F C

Mood (Ind, decl) R

66. nor foot,

(it is) Nor Foot

(S+F) C

Mood (Indc,decl) R

67. Nor arm,

(it + is) Nor Arm

(S+F) C

Mood (Indc, decl) R

68. nor face,

(it + is) Nor Face

(S+F) C

Mood (Indc, decl) R

69. nor any other part

(it + is) Nor any other part

(S+F) C

Mood (Indc, decl) R

70. O, be some other name!

O, Be some other name

Adj F P C

71. What's in a name?

What Is in a name?

S F C

Mood (Indc, intrr) R

72. that which we call a rose

That which We Call a rose

Adj S F P C

Mood (Indc, decl) R

73. By any other name would smell as sweet;

By any other name would smell as sweet

S F P C

Mood (Indc, decl) R

74. So Romeo would,

So Romeo Would,

Adj S F

R Mood (Indc, decl)

75. were he not

were He Not

F S F

Mood (Indc, intrr)

76. Romeo call'd

Romeo Call’d

S F P

Mood (Indc, decl) R

77. Retain that dear perfection

Retain that dear perfection

F P Adj C

Mood (Indc, decl) R

78. which he owes

which

He Owes

S F P

Mood (Indc, decl) R

79. And for that name which is no part of thee

And for that name

Which is no part of thee

Adj S F C

80. Take all myself”.

Take All my self

F P C

Mood (Impr) R

81.”I take thee at thy word:

I Take Thee at thy word

S F P C Adj

Mood (Indc, decl) R

82. Call me but love,

Call me

But

love

F P C C

Mood (Indc, decl) R R

83. and I'll be new baptized;

and

I will be new batized

S F P C

Mood (Indc, decl) R

84. _{Henceforth I never will be Romeo”.}

Henceforth I never will be Romeo

Adj S Adj F P C

R Mood (Indc, decl) R

85. ”What man art thou

What man art

C S F

R Mood (Indc, decl)

86. that thus bescreen'd in night

that thus

bescreen’d in night

F P Adj

Mood (Indc, decl) R

87. I know

I know

S F P

Mood (Indc, decl) R

88. not how to tell thee

not how to tell thee

Adj S F P C

89. who I am:

Who I am

C S F

R Mood (Indc, intrr)

90_{. My name, dear saint, is hateful to myself,}

My name

dear saint is hateful to my self

S F C C

Mood (Indc, decl) R

91. _{Because it is an enemy to thee;}

Because It is an enemy to thee

Adj S F C C

R Mood (Indc, decl) R

92. Had I it written

Had I it written

F S C P

Mood (Indc, intrr) R

93. I would tear the word”

I Would tear the word

S F P C

Mood (Indc, decl) R

94.”My ears have not yet drunk a hundred words

My ears have not yet drunk a hundred words

S F Adj P C

Mood (Indc, decl) R

95.yet I know the sound:

Yet I know the sound

Adj F P C

Mood (Indc, decl) R

96. Art thou not Romeo and

Art thou not Romeo

and

F S F C

Mood (Indc, intrr) R

97. Art thou not a Montague?

Art thou not a Montague?

F S F C

98.”Neither, fair saint, if either thee dislike”.

Neither, fair saint, if either thee dislike

S F

Mood (Indc, decl)

99. tell me, and

tell Me, and

F P C Adj

Mood (Indc, intrr) R

100. The orchard walls are high to climb

The orchard walls are high to climb and

S F C P Adj

Mood (Indc, decl) R

101. The orchard walls are hard to climb

The orchard walls Are hard to climb

S F C P

Mood (Indc, decl) R

102. who thou art,

who Thou art

C S F

R Mood (Indc, intrr)

103. If any of my kinsmen find thee here”.

If any of my kinsmen find thee here

Adj S F P C Adj

Mood (Indc, decl) R

104. ”With love's light wings did

With love’s light wings did

Adj S F

R Mood (Indc,decl)

105. I o'er-perch these walls;

I o’er-perch these walls

S F C

Mood (Indc, decl) R

106. For stony limits cannot hold love out,

For stony limits can not hold love out

S F P C

Because it is an enemy to thee;

Had I it written, I would tear the word”. JULIET:

”My ears have not yet drunk a hundred words Of that tongue's utterance, yet I know the sound: Art thou not Romeo and a Montague?”

ROMEO:

”Neither, fair saint, if either thee dislike”. JULIET:

”How camest thou hither, tell me, and wherefore? The orchard walls are high and hard to climb, And the place death, considering who thou art, If any of my kinsmen find thee here”.

ROMEO:

”With love's light wings did I o'er-perch these walls; For stony limits cannot hold love out,

And what love can do that dares love attempt; Therefore thy kinsmen are no let to me”. JULIET:

”If they do see thee, they will murder thee”. ROMEO:

”Alack, there lies more peril in thine eye

Than twenty of their swords: look thou but sweet, And I am proof against their enmity”.

JULIET:

”I would not for the world they saw thee here”. ROMEO:

”I have night's cloak to hide me from their sight; And but thou love me, let them find me here: My life were better ended by their hate, Than death prorogued, wanting of thy love”. JULIET:

”By whose direction found'st thou out this place?” ROMEO:

”By love, who first did prompt me to inquire; He lent me counsel and I lent him eyes. I am no pilot; yet, wert thou as far

As that vast shore wash'd with the farthest sea, I would adventure for such merchandise”.

JULIET:

”Thou know'st the mask of night is on my face, Else would a maiden blush bepaint my cheek For that which thou hast heard me speak to-night Fain would I dwell on form, fain, fain deny What I have spoke: but farewell compliment! Dost thou love me? I know thou wilt say 'Ay,' And I will take thy word: yet if thou swear'st, Thou mayst prove false; at lovers' perjuries Then say, Jove laughs. O gentle Romeo, If thou dost love, pronounce it faithfully: Or if thou think'st I am too quickly won, I'll frown and be perverse an say thee nay, So thou wilt woo; but else, not for the world. In truth, fair Montague, I am too fond,

And therefore thou mayst think my 'havior light: But trust me, gentleman, I'll prove more true Than those that have more cunning to be strange. I should have been more strange, I must confess, But that thou overheard'st, ere I was ware, My true love's passion: therefore pardon me, And not impute this yielding to light love, Which the dark night hath so discovered”. ROMEO:

”Lady, by yonder blessed moon I swear That tips with silver all these fruit-tree tops.” JULIET:

”O, swear not by the moon, the inconstant moon, That monthly changes in her circled orb,

Lest that thy love prove likewise variable”. ROMEO:

”What shall I swear by?” JULIET:

”Do not swear at all;

Or, if thou wilt, swear by thy gracious self, Which is the god of my idolatry,

And I'll believe thee”. ROMEO:

”If my heart's dear love.” JULIET:

”Well, do not swear: although I joy in thee, I have no joy of this contract to-night: It is too rash, too unadvised, too sudden; Too like the lightning, which doth cease to be Ere one can say 'It lightens.' Sweet, good night! This bud of love, by summer's ripening breath, May prove a beauteous flower when next we meet. Good night, good night! as sweet repose and rest Come to thy heart as that within my breast!” ROMEO:

”O, wilt thou leave me so unsatisfied?” JULIET:

”What satisfaction canst thou have to-night?” ROMEO:

”The exchange of thy love's faithful vow for mine”. JULIET:

”I gave thee mine before thou didst request it: And yet I would it were to give again”. ROMEO:

”Wouldst thou withdraw it? for what purpose, love?” JULIET:

”But to be frank, and give it thee again. And yet I wish but for the thing I have: My bounty is as boundless as the sea, My love as deep; the more I give to thee, The more I have, for both are infinite”. Nurse: [calls within]

”I hear some noise within; dear love, adieu! Anon, good nurse! Sweet Montague, be true. Stay but a little, I will come again”.

Exit, above ROMEO:

”O blessed, blessed night! I am afeard. Being in night, all this is but a dream, Too flattering-sweet to be substantial”. Re-enter JULIET, above

JULIET:

”Three words, dear Romeo, and good night indeed. If that thy bent of love be honourable,

Thy purpose marriage, send me word to-morrow, By one that I'll procure to come to thee,

Where and what time thou wilt perform the rite; And all my fortunes at thy foot I'll lay

And follow thee my lord throughout the world”. Nurse:

[Within] “Madam!” JULIET:

”I come, anon. But if thou mean'st not well, I do beseech thee”.

Nurse:

[Within] “Madam!” JULIET:

”By and by, I come,

To cease thy suit, and leave me to my grief: To-morrow will I send”.

ROMEO:

”So thrive my soul”. JULIET:

”A thousand times good night!” Exit, above

ROMEO:

”A thousand times the worse, to want thy light. Love goes toward love, as schoolboys from their books,

But love from love, toward school with heavy looks”. Retiring

Re-enter JULIET, above JULIET:

”Hist! Romeo, hist! O, for a falconer's voice, To lure this tassel-gentle back again!

Bondage is hoarse, and may not speak aloud; Else would I tear the cave where Echo lies,

And make her airy tongue more hoarse than mine, With repetition of my Romeo's name”.

ROMEO:

”It is my soul that calls upon my name:

How silver-sweet sound lovers' tongues by night, Like softest music to attending ears!”

JULIET: ”Romeo!” ROMEO: ”My dear?” JULIET:

”At what o'clock to-morrow Shall I send to thee?” ROMEO:

”At the hour of nine”. JULIET:

”I will not fail: 'tis twenty years till then. I have forgot why I did call thee back.” ROMEO:

”Let me stand here till thou remember it.” JULIET:

”I shall forget, to have thee still stand there, Remembering how I love thy company.” ROMEO:

”And I'll still stay, to have thee still forget, Forgetting any other home but this.” JULIET:

”Tis almost morning; I would have thee gone: And yet no further than a wanton's bird; Who lets it hop a little from her hand, Like a poor prisoner in his twisted gyves, And with a silk thread plucks it back again, So loving-jealous of his liberty.”

ROMEO:

”I would I were thy bird.” JULIET:

Yet I should kill thee with much cherishing. Good night, good night! parting is such sweet sorrow,

That I shall say good night till it be morrow.” Exit above

ROMEO:

”Sleep dwell upon thine eyes, peace in thy breast! Would I were sleep and peace, so sweet to rest! Hence will I to my ghostly father's cell,

His help to crave, and my dear hap to tell”. Exit