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
ABSTRAK
ABBREVIATIONS
SFLT = Systemic Functional Linguistics Theory
S = Subject
F = Finite
R = Residue
Adj = Adjunct
Indc = Indicative
decl = declarative
intrr = interrogative
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
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,
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
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
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
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
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
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.
provides the Systemic Functional Linguistics theory using Indonesian language as the
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 :
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
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
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
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
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,
What do you think about love?
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)
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
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
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
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
(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)
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
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
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
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 :
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,
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.
“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
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:
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:
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]
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:
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
3. ”But, soft! what light through yonder window breaks?
But, soft!
What light
through yonder window breaks?
S F P
Kill the envious moon
F P C
8. Who is already sick and,
15. Her vestal livery is but green
17. cast it off.
25. Her eye discourses;
Her eye discourses;
S F
26. I will answer it.
30. how she leans her cheek upon her hand!
How she learns her cheek upon her hand
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
37. That birds would think
44. O, speak again, bright angel!
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
49. When he bestrides the lazy-pacing clouds
When He bestrides the lazy pacing clouds
C S F P C
51. “O Romeo, Romeo! wherefore art thou Romeo?
wherefore Art thou Romeo?
62. Thou art thyself,
64. What's Montague?
71. What's in a name?
73. By any other name would smell as sweet;
By any other name would smell as sweet
77. Retain that dear perfection
Retain that dear perfection
80. Take all myself”.
84. Henceforth I never will be Romeo”.
Henceforth I never will be Romeo
86. that thus bescreen'd in night
that thus
bescreen’d in night
89. who I am:
94.”My ears have not yet drunk a hundred words
My ears have not yet drunk a hundred words
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
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
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
107. And what love can do
And what love can do
Adj S F P
R Mood (Indc, decl) R
108. that dares love attempt;
that
dares love attempt
S F P
Mood (Indc, decl) R
109. Therefore thy kinsmen are no let to me”.
Therefore thy kinsmen are no let to me
111. they will murder thee”.
They will murder thee
S F P C
Mood (Indc, decl) R
112. ”Alack, there lies more peril in thine eye
Alack, There lies more peril in thine eyes
Adj S F P C Adj
R Mood (Indc, decl) R
113. Than twenty of their swords: look thou but sweet,
Look thou but sweet
115.against their enmity”.
Against their enmity
F P C
116. ”I would not for the world
I Would not for the world
S F Adj
Mood (Indc, decl) R
117.they saw thee here”.
they Saw thee here
S F P C Adj
Mood (Indc, decl) R
118. ”I have night's cloak to hide me from their sight;
I Have night’s cloack to hide me
122. ended by their hate,
Ended by their hate
124. ”By whose direction found'st thou out this place?”
By whose direction Found’st thou out this place?
S F C Adj
125. ”By love, who first did prompt me to inquire;
130. As that vast shore wash'd with the farthest sea,
As that vast shore wash’d with the farthest sea
Adj S F P C
Mood (Indc, decl) R
131. I would adventure for such merchandise”.
I Would adventure for such merchandise
S F C Adj
Mood (Indc, decl) R
132. ”Thou know'st the mask of night
134.Else would a maiden
136. bepaint my cheek
Bepaint my cheek
F P C
Mood (Indc, decl) R
137.For that which thou hast heard me
For that which thou hast heard me
S F P C
R Mood (Indc, decl) R
138. speak to-night
speak tonight
142. What I have spoke: but farewell compliment!
What I have spoke But farewell compliment
C S F P Adj C
143. Dost thou love me?
147. yet if thou swear'st,
Yet if thou swear’st
Adj S F P
R Mood (Indc, decl) R
148. Thou mayst prove false; at lovers' perjuries
Thou mayst prove false; at lover’s perjuries
150. Jove laughs. O gentle Romeo,