ABSTRACT
PUTRA, PIETER SURYA. Adverbial Phrases in Edgar Allan Poe’s The Tell-Tale Heart. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2016.
Adverbial phrase is one of the most ruled out phrases, despite of its frequency that quite often appears in many kinds of texts or speeches. This study specifically discusses one branch of adverbial phrases that is adjunct in a fiction story. The object used for the research is Edgar Allan Poe’s The Tell-Tale Heart which was published in 1843. This story has a lot of adverbial phrases, but the writer of this study only focused on adjuncts.
This study analyzes the adjuncts in phrase forms. The adjunct may consist of a word or more. In order to analyze the adjunct phrases, the writer makes focuses on two problems to be discussed in this study. First is the distribution of adverbial phrases in the story. Second is the significance of adverbial phrases in the story.
In this study, the writer employs population study to collect the data and library research to find sources related to style in writing. The writer uses a stylistics approach to answer the problems.
ABSTRAK
PUTRA, PIETER SURYA. Adverbial Phrases in Edgar Allan Poe’s The Tell-Tale Heart. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2016
Frasa adverbial adalah salah satu kelas kata yang sering dikesampingkan, meskipun kelas ini yang sering muncul di berbagai teks dan pembicaraan. Skripsi ini secara spesifik membahas salah satu bagian dari frasa adverbial yang adalah keterangan dalam cerita fiksi. Data yang dianalisis dalam penelitian ini adalah cerpen yang ditulis oleh Edgar Allan Poe yang berjudul The Tell-Tale Heart yang dipublikasikan di tahun 1843. Cerpen ini memiliki banyak frasa adverbial, dan penyusun skripsi ini fokus menganalisis keterangan.
Skripsi ini menganalisis keterangan yang muncul dalam bentuk frasa. Keterangan tersebut bisa terdiri dari satu kata atau lebih. Untuk menganalisis frasa keterangan dalam cerita, penyusun skripsi mengusulkan dua buah rumusan masalah yang akan dibahas. Rumusan masalah yang pertama membahas mengenai distribusi frasa keterangan dalam cerita. Rumusan masalah yang kedua membahas fungsi signifikan dari frasa keterangan di cerita.
Dalam skripsi ini, penyusun menggunakan studi populasi untuk mengumpulkan data dan kajian pustaka untuk mencari sumber-sumber mengenai gaya penulisan. Penyusun menggunakan pendekatan stilistika untuk menjawab rumusan masalah.
ADVERBIAL PHRASES IN EDGAR ALLAN POE’S
THE
TELL-TALE HEART
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra
in English Letters
By
PIETER SURYA PUTRA
Student Number: 124214030
DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS
SANATA DHARMA UNIVERSITY YOGYAKARTA
ii
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra
in English Letters
By
PIETER SURYA PUTRA Student Number: 124214030
ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS SANATA DHARMA UNIVERSITY
vii
ACKNOWLEDGEMENTS
First of all, I am grateful to Jesus Christ for if it was not because of His Mercy, I would not be able to complete this work. Even though I admit that this work is still far from perfection, I hope this study will enrich people’s knowledge in the future and be used for good purposes.
I wish to express my sincere thanks to Anna Fitriati, S.Pd., M.Hum. for being my thesis advisor. She always guided me in completing this thesis and gave me feedback to improve my writing. I remember well the first time I had consultation, she patiently guided me and I am really grateful to have her as my advisor. I also would like to thank my Co-Advisor, Arina Isti’anah, S.Pd., M.Hum. for her criticisms and feedback so I can make this work better.
My greatest thanks are for my family, to my mother, Christiana Budiman who always supported me with a lot of care, my father, Novian Suryo Utomo, who always gives me motivation and prayer everyday, and also, my brother, Michael Surya Christabel. I am also grateful to my aunts, Linda Valentina Budiman and Elizabeth Ika Hesti for giving me a lot of good resources to improve my thesis.
I offer my big thanks to my college friends, Andira, Ami, Wiwid, Agatha, Eka, Tjia and Doni. I also give my special thanks to Henokh who helped me collecting the data and Crawford who checked my grammar. It is because all of you I can finish my undergraduate thesis.
viii
A. Background of the Study ...1
B. Problem Formulation ...3
C. Objectives of the Study ...3
D. Definition of Terms ...4
CHAPTER II: THEORETICAL REVIEW ...5
A. Review of Related Studies ...5
B. Review of Related Theories ...7
1. Adverb ...7
2. Grammatical Function of Adverbial as Adjunct...8
3. Semantic Role of Adverbial ...10
4. Stylistics ...11
B. Approach of the Study ...16
C. Method of the Study ...16
1. Data Collection ...16
2. Data Analysis ...17
CHAPTER IV: ANALYSIS ...19
A. The Occurrence of Adverbial Phrases ...19
1. Position of Adverbial Phrases ...19
2. Classification of Adverbial Phrases ...22
3. Types of Adverbial Phrases Used in Three Position of Occurrences ...29
B. Significance of Adverbial Phrases in Short Story ...31
ix
2. Goal of a Character ...35
3. Character’s Mood ...38
CHAPTER V: CONCLUSION ...42
BIBLIOGRAPHY ...44
APPENDICES ...46
A. Appendix 1: Distribution of Adjunct Phrases...46
x
LIST OF TABLES
xi ABSTRACT
PUTRA, PIETER SURYA. Adverbial Phrases in Edgar Allan Poe’s The Tell-Tale Heart. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2016.
Adverbial phrase is one of the most ruled out phrases, despite of its frequency that quite often appears in many kinds of texts or speeches. This study specifically discusses one branch of adverbial phrases that is adjunct in a fiction story. The object used for the research is Edgar Allan Poe’s The Tell-Tale Heart which was published in 1843. This story has a lot of adverbial phrases, but the writer of this study only focused on adjuncts.
This study analyzes the adjuncts in phrase forms. The adjunct may consist of a word or more. In order to analyze the adjunct phrases, the writer makes focuses on two problems to be discussed in this study. First is the distribution of adverbial phrases in the story. Second is the significance of adverbial phrases in the story.
In this study, the writer employs population study to collect the data and library research to find sources related to style in writing. The writer uses a stylistics approach to answer the problems.
xii ABSTRAK
PUTRA, PIETER SURYA. Adverbial Phrases in Edgar Allan Poe’s The Tell-Tale Heart. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2016
Frasa adverbial adalah salah satu kelas kata yang sering dikesampingkan, meskipun kelas ini yang sering muncul di berbagai teks dan pembicaraan. Skripsi ini secara spesifik membahas salah satu bagian dari frasa adverbial yang adalah keterangan dalam cerita fiksi. Data yang dianalisis dalam penelitian ini adalah cerpen yang ditulis oleh Edgar Allan Poe yang berjudul The Tell-Tale Heart yang dipublikasikan di tahun 1843. Cerpen ini memiliki banyak frasa adverbial, dan penyusun skripsi ini fokus menganalisis keterangan.
Skripsi ini menganalisis keterangan yang muncul dalam bentuk frasa. Keterangan tersebut bisa terdiri dari satu kata atau lebih. Untuk menganalisis frasa keterangan dalam cerita, penyusun skripsi mengusulkan dua buah rumusan masalah yang akan dibahas. Rumusan masalah yang pertama membahas mengenai distribusi frasa keterangan dalam cerita. Rumusan masalah yang kedua membahas fungsi signifikan dari frasa keterangan di cerita.
Dalam skripsi ini, penyusun menggunakan studi populasi untuk mengumpulkan data dan kajian pustaka untuk mencari sumber-sumber mengenai gaya penulisan. Penyusun menggunakan pendekatan stilistika untuk menjawab rumusan masalah.
1 CHAPTER I INTRODUCTION
A. Background of the Study
Language is a way to communicate. It can be written and spoken. In written language, we can identify it in many things, such as newspaper, timeline twitter, magazine, novel, or short story. Language can be found every day and
almost everywhere because “we live in a world of language” (Fromklin, et.al, 1991: 2). We are hardly free from words when we are still living, even sometimes in our dreams, we have conversations. We can also use language to persuade, explain, or convey experience.
In communicating ideas using language, we have to be able to make a good sentence in order to communicate well. Thus, several components are needed to make a good sentence. There are several components of a sentence, such as words, phrases, and clauses. This study will focus on phrases. There are several types of phrase such as noun phrase, verb phrase, adverbial phrase, and adjective phrase (Delahunty & Garvey, 2010: 274), but the writer will only focus on adverbial phrases.
An adverbial phrase or an adverb often appears in many kinds of text, whether it is scientific or literary text, but adverbial phrase is often forgotten.
Jackendoff maintains that “perhaps the least studied and most maligned part of
significant because it can give more detailed information. Adverb describes the circumstances in certain context (Simpson, 2004: 14). The adverbial phrases also have a complex distribution because they can appear in the beginning, middle, or end of a sentence. Consequently, adverbial phrases deserve more attention because of their significant roles in sentences.
The writer’s focus in this study is adverbial phrases in a short story. A short story uses a lot of linguistic aspects, just like other literary texts. It needs many language applications to deliver its message to the readers. In this study, the writer tries to identify the significance of adverbial phrases in the short story.
The short story discussed in this study was written by Edgar Allan Poe titled The Tell-Tale Heart. The writer uses this short story because Poe is well-known with his gothic horror style of writing. This short story has considerable amount and variation of adverbial phrases to be studied. Adverbial phrases are used frequently in the horror story to create suitable atmosphere. Poe described the situation and atmosphere of the story in such a detailed way. Wiratningsih argues
that “when Poe tells the reader what happens, he will describe event in clear,
reportorial style” (2003: 2). In other words, it is important to analyze how adverbial phrases contribute to modify lexical categories and develop the story.
In consequence, it is worthy to study adverbial phrases in the short story because it gives readers more knowledge on how adverbial phrases work in literary works. Moreover, this study also gives more understanding to the readers about the short story by identifying the relation between adverbial phrases and horror story.
B. Problem Formulation
From the background written above, the writer will discuss two questions as problem formulation, which are as follows:
1. How are the adverbial phrases distributed in Poe’s The Tell-Tale Heart? 2. What is the function of the adverbial phrases in Poe’s The Tell-Tale Heart? C. Objectives of the Study
Based on the problem formulation, the writer would like to achieve two objectives at the end of this study. First, this study determines how adverbial phrases in the short story are distributed. The study of the distribution also includes the types and the position of adverbial phrases. This distribution is helpful to analyze the second problem formulation.
D. Definition of Terms
In this part, the writer clarifies some terminologies used in the study in order to avoid misunderstanding and misinterpretation. The writer provides the following definition of terms that frequently appear in the study.
Traditionally, an adverb is defined as “a word used to modify a verb, adjective, preposition or another adverb” (Delahunty & Garvey, 2010: 178). Thus, an adverb will never modify a noun. Examples of adverb are very, dreadfully, slowly, usually, and well. The writer will use this definition in this research.
Phrase is a word or a group of words that is not containing a verb and its subject and used as a single part of speech (Delahunty & Garvey, 2010: 274). Therefore, a phrase can consist of a word or more as long as it does not have subject and verb. Examples of phrase are in my desperately wounded condition, the rays of numerous candles, and about the closing in of an evening in autumn.
5 CHAPTER II
THEORETICAL REVIEW
A. Review of Related Studies
The previous study of adverb is conducted by Jonathan Irene Sartika Dewi (2011). Her study is about adverbs ending with –ly modifying verbs of speaking in a literary work. She studied how the distribution of adverbs ending with –ly modify verbs of speaking and their significances in a novel titled Confession of a Shopaholic. The findings of analysis include position, grammatical function, and semantic roles. The result of her research is that the significance of adverbs ending with –ly modifying verbs can be seen in terms of developing the elements in the
story. They are character’s personalization, character’s expression and tone in speaker, characters’ manner management in speaking. Another significance can be
found through the reader’s emotion engagement to the story from major character
point of view.
There are many studies about Edgar Allan Poe’s works. The writer uses the previous study by Riah Wiratningsih (2003) in this research to be reviewed. She conducted a research in Poe’s mystery-themed short stories entitled The Fall of The House of Usher, The Tell-Tale Heart, and The Black Cat. Wiratningsih discusses the mystery in the short story. The result of her study is Poe creates the appearances of mystery through idiosyncrasy of his characters. He makes the creation of uniqueness and strangeness and his characterization is supported by point of view, setting, plot, foreshadowing and diction. Those elements of works contribute to the
effect of mystery in Poe’s short story (2003: 1).
Reviewing those studies, there are some similarities and relevance with this study. Dewi’s study only focuses on adverbs ending with –ly, which are adverbs of manner. This study covers larger context, that is phrases. This study investigates adverb of place, adverb of manner, adverb of time, adverb of degree, and adverb of frequency, and their significances to the story.
This study is relevant to Ernst’s because his study shows the distribution
of adverbs based on their environments that are semantic properties of the adverbs. This study also discusses the distribution of adverbial phrases in gothic-horror literary text which should have its own context and semantic property. This study
is also similar to Wiratningsih’s study that is analyzing Poe’s mystery-themed short story, however, the difference is this study conducts linguistic study to analyze the significance of adverbial phrases in Poe’s short story. As a result, referring from those two short studies, this study identifies the distribution of adverbial phrases in
B. Review of Related Theories 1. Adverb
Biber, et al. state that an adverb can either be integrated into an element of the clause or function themselves as an element of the clause (1999: 538). It means that adverbs may have various occurrences in a clause because they may serve as modifiers of other elements of the clause. The adverb serving as modifiers also can also function as adverbials. The difference between adverb and adverbial is an adverb is a word class label, while an adverbial is a function label. It means that adverbials are the units that provide the answer for the question such as ‘why did
this occur?’, ‘how did this occur?’, ‘when did this occur?’, and ‘where did this occur?’.
The forms of adverbs are commonly characterized with ending –ly. However, Biber et al. categorize adverbs into four major categories (1999: 539). First is a simple adverb. Simple adverbs are single words that are not formed from compounds or derivational affixes, e.g. well, quite, here, and soon. Other simple adverbs are related to other words classes: long and fast can be adjectives; down and round can be used as preposition; yesterday and tomorrow can be used as nouns. Second is a compound adverb. Compound adverbs are formed by combining two or more elements into a single word, e.g. anyway (any + way), and nowhere (no + where).
of the suffix to an adjectival form and not all words ending in –ly are adverbs, such as friendly, lovely, and leisurely. Fourth is fixed phrase. These phrases are invariant in form, and the component words rarely retain their independent meaning, e.g. of course, kind of, and at last.
2. Grammatical Function of Adverbial as Adjunct
Quirk divides the grammatical functions of adverbials into four main divisions. They are Adjunct, Subjunct, Disjunct, and Conjunct (1985: 503). However, this study focuses more on adjunct because most data found in the story are in adjunct form.
In sentences, adjuncts resemble other sentence elements, such as Subject, Object, and Complement (Quirk, 1985: 504). Adjunct can also be the focus of a cleft sentence. Generally, adverbs as adjuncts have more freedom of position in a clause than other elements. Adjunct is divided into two subcategories: Predication (Obligatory and Optional) and Sentence. Adjuncts also have grammatical realization of their sematic roles. They are as follows:
i. Adjunct of Space
ii. Adjunct of Time
Adjunct of time is the adverb that explains any matter related to time. The aspects explained by adjunct of time are position, duration/span, and frequency (1985: 526). Adjunct of time-position usually uses prepositional phrase or noun phrase, e.g. in 2000, at 10 o’clock. Prepositional phrases help to distinguish the
narrowness or broadness of the time ‘location’. Further, it is divided into two modes
of orientation. First, it denotes a point or period of time, e.g. now ‘at this time’ and simultaneously ‘at the same time’. Second, it gives additional implication to another period of time, e.g. later ‘afterward’ and eventually ‘in the end’.
Adjuncts of span and duration are the adverbs that give explanation related
to time as linear dimension. All adjuncts of time have an orientation to the speaker’s ‘now’ (the primary concern to the speaker/writer within a given context), the one
iii. Process Adjunct
Process adjunct explains how something is done. All four semantic types of process adjunct can be realized by prepositional phrase (1985: 556). First type is Manner Adjunct. It is performed by derivational adjective + suffix –ly which can be paraphrased by in a … manner or in a … way where the adjective fill the blank position. This adjunct also answers a How question. It is because how is usually expected to elicit Manner Adjunct. Second type is Means Adjunct, e.g. You can turn on this machine by pressing this button. Third type is Instrument Adjunct, e.g. We cut the tree with this axe. Fourth type is Agentive Adjunct, e.g. She was killed by a murderer.
iv. Respect Adjunct and Contingency Adjunct
Respect Adjunct is an adverb that show its parasitic character in being realized formally by expressions whose primary function is to realize other classes of adjunct (1985: 563). In the other words, it explains the content of the sentence in its association with certain classes (most of them are adjective) as the related point, e.g. She’s advising them legally. Legally here means ‘from a legal standpoint’. Contingency Adjunct, meanwhile, is realized by the prepositional phrases e.g. because of (reason), for (purpose), if (condition), and though (concession).
3. Semantic Roles of Adverbial
Position and Duration (which are interrelated with forward span [until] and backward span [since]), Frequency (e.g. often, always) and Relationship (e.g. still, already). Third, adverbial roles of Process has four aspects, they are Manner (e.g. loudly, well), Means (e.g. by plane, in mathematics), Instrument (e.g. with a hammer, using a calculator), and Agentive (e.g. by John Passive Voice).
Fourth is adverbial role of Respect. It has concerned with the use of adverbial to identify a relevant point of reference in respect of which the clause concerned derives its truth value (e.g. She helped him a little with his book). Fifth, adverbial roles of Contingency has Cause (e.g. She died of cancer), Reason (e.g. He brought his umbrella because today is going to rain), Purpose (e.g. They train every day to win the championship), Result (e.g. He ran so fast, so he won the medal), Condition (e.g. I can eat, if I have a job), and Concession (e.g. I still can eat, though I do not have any job). Sixth, adverbial roles as Modality has Emphasis (e.g. She will certainly go to the party), Approximation (e.g. She will probably go to the party), and Restriction (e.g. She will go only to the party). Seventh, adverbial roles as Degree has Amplification (e.g. I love her so much), and Diminution (e.g. I like her a little bit).
4. Stylistics
the different feature of the author in delivering message or affecting the reader can be observed through stylistics.
Adverbial phrases are also one of many features that the author uses to deliver his message. It is meant to give effect to the readers by his style of writing, and in this case, the adverbial phrases that the author used. An adverb, which is also known as adjunct, is usually treated as a tool to describe the environment in a clause. They (adjuncts) basically describe the circumstances that attach to the process related by the clause and for that reason they can often be removed without affecting the grammaticality of the clause as a whole (Simpson, 2004: 14).
5. Foregrounding
Foregrounding is “the bringing of particular textual features into prominence, e.g. distinct patterns or parallelism, repetitions, and deviations from general linguistic rules or from the style expected in a specific text type, or genre, or context” (Verdonk, 2002: 118). It is like ‘throwing into relief’ of linguistic sign from common norms of ordinary language. It is the particularly noticeable features
to show the relationship with other features of style in order to awaken the reader’s
emotions or interest. In the story, one of many features used by the author is adverbial phrases. It can be observed that adverbial phrases are used in many varieties. Some of them distinguish themselves from ordinary language. It can be said that they violating grammatical norms. Later, it will be proved that adverbial
6. Representation
Representation is the use of language to create a context of reality rather than to identify aspects of an existing one; projection though language of an
alternative world. “The people, places, and times in the story act on readers as cues
to imagine them as participating in the situation of the fictional world of the
discourse” (Verdonk, 2002: 34) in order to make the readers can engage to the story.
It makes the reader be like in the world or situation of the story, escapes from reality to feel the conflicting emotion in the story. Adverbial phrases work as the feature to create the projection of the world of the story. It will be analyzed how adverbial phrase signifying to the context of reality in the story.
C. Theoretical Framework
15 CHAPTER III METHODOLOGY
A. Object of the Study
The object of this study is a short story written by Edgar Allan Poe. The tittle of the work is The Tell-Tale Heart published in 1843. It first appeared in the inaugural issue of the Boston magazine, The Pioneer. Though this story is favorite
with today’s readers, The Tell-Tale Heart was rejected the first time Poe tried to publish it.
The linguistic element that the writer will analyze is an adverbial phrase. An adverbial phrase may be in form of a word or a phrase. The adverb might modify other part of speech such as verb, adjective, or even another adverb. However, the most common part of speech that adverbs modify is verb. Adverbs may be optional in matter of use in a sentence. They are often omitted by some writers to make their sentences shorter. Even though adverbs are optional, they can still give significance when they are used in completing a sentence because adverbs add some details to the sentence. Thus, the writer here is trying to explain the significance of the adverbs in story.
B. Approach of the Study
In order to identify the distribution of adverbial phrases and the significance of them to the story, the writer used stylistic approach. Stylistics is the study of style in language. Leech states that “literary stylistics has, implicitly or explicitly, the goal of explaining the relation between language and artistic function” (1981: 13). Thus, stylistics can be used to identify the linguistic expression and description to find out why the author here describe his story in this certain way. This approach is used to analyze the data from the short story. The data is the adverbial phrases in the short story. Foregrounding and representation theory are appropriate to conduct this study to ascertain the importance of the adverbial phrases in the story.
C. Method of the Study 1. Data Collection
on grammatical function that most often occurs in the story. Based on the occurrences, the adjunct outnumbered another grammatical function, such as disjunct and conjunct. After that, the writer classified the adverbial phrases based on their distribution. After that, the writer preceded the analysis on all of the adverbial phrases.
2. Data Analysis
In order to understand the distribution, the writer classified the adverbial phrases in the story based on the theories mentioned above. The purpose of this analysis was to identify the distribution of adverbial phrases used by the author. The grammatical function of adverbs and semantic roles of adverb can be used to classify the distribution of adverbial phrases used in the story. The results of this analysis are presented in tables based on their position and types of adverb. The followings are examples of the tables that will be used in analysis:
Table 1. The Distribution of Adverbial Phrases Based on the Position Initial Position Middle Position Final Position Total
Table 2. The Distribution of Adverbial Phrases Based on Types of Adverb Grammatical Function & Semantic
Role Total
Table 3. Types of Adverbial Phrases and the Occurrences in Three Positions Position
Types
Initial Position
Middle Position
In order to reveal the significance of the adverbial phrases, stylistics theories are used to understand. Foregrounding and representation were used to find out the significance of adverbial phrases to the plot of the story. Foregrounding was used to identify the roles and significances of adverbial phrases to the readers,
especially the reader’s emotions and interests. Representation was used to explain
that all of description in the story can be brought to the readers’ imagination through
the adverbial phrases used by the author. Thus, the significance of adverbial phrases to the story can be seen through the way they represent the reality (to help
19 CHAPTER IV
ANALYSIS
A. The Occurrence of Adverbial Phrases 1. Position of Adverbial Phrases
After reading The Tell-Tale Heart, the writer realized that adverbial phrases often occur in the sentences. This shows the prominence of adverbs as a feature of language. There are nearly two hundred occurrences of adverbs in form of adjunct. Based on the position, most of the adverbs occur in the middle of sentences. Even though adverbs generally have greater freedom of position in the clause, the choice of word order may be a matter of focus or emphasis in case of adverbs of manner. In addition, initial position of adverbs is used for sequence of adverbials to avoid confusion at the end (Wales, 2001: 9). Thus, the position of adverbs may give hint about what the author wants to make the attention more in the story. In the short story, adjunct of manner is the most type of adverb that occur in the middle position and final position. The position of adverb is important if there are several adverbs in a clause. For instance, in the sentence (1), the adverb of time appears in the beginning of a clause, so it can drag the attention of the readers to the certain time that the narrator mention in the story.
(1) Now this is the point. (p. 277) Initial Position
(3) …As the bell sounded the hour, there came a knocking at the street
door. (p. 280) Final Position
Those are some examples of adjunct of space in three different occurrences. When the adjunct appears in the initial position, it immediately points out the manner or situation before the action is described in the sentence. When the adjunct appears in the middle or final position, it may modify or be the complement of the verb. The narrator mentions now in the beginning to give the clear explanation of time before the reader confused with when the action takes place.
In the second example, the narrator tells about where he went to, thus the adjunct works as complement because the verb needs complement, but not only that, it still gives the border of the setting. While still on the same page, adjuncts of time and adjuncts of manner are less often to be complements, but more likely to be modifiers. The third example shows that the adjunct of place modifies the noun. The adjunct explains where the knock came from. The occurrences are the same with the other adjuncts, such as adjunct of time, adjunct of manner, and adjunct of respect.
Table 4. The Occurrence of Adjuncts in The Tell-Tale Heart Initial Position Middle Position Final Position Total
11 129 51 191
place. It is because the adverbs’ position occurs near the verbs, which are the core
of every sentence.
The adjuncts that occur in the final position are the next adverbial phrases that often appear in the story. There are 51 adjuncts in final position found in the short story. Some adjuncts are repeated in the middle of a sentence, but it is counted as one adjunct (if the adjunct is same). The adjuncts that appear in the final position usually give the extra information to the sentence. However, they can also be the main focus of the sentence. Geoffrey Leech states that “The principle that 'last is most important' means that the nuclear tone's neutral position is at the end of the tone unit, specifically, on the last lexical item, or 'content word'” (1981: 212). In the other words, the reader would take the adjunct in the end of a sentence as something essential to the story. It is not only as a modifier of a sentence, but it may have special context to the story.
The least adjunct occurrence in the story is the adjunct occurrence in the initial position. There are 11 data found in the short story. The difference is quite high compared to the other position. This is because the types of adverb that usually appear in initial position are conjunct, disjunct, and subjunct. Adjunct is less common to be in initial position, thus, the amount of adjunct in The Tell-Tale Heart is relatively little. Adverbs in the initial position draw the reader’s attention about
2. Classification of Adverbial Phrases
In this study, the classification of adverbial phrases is conducted based on classification of Quirk, Greenbaum, Leech, and Svartvit on grammatical function of adverbials. Based on the grammatical function, adverbial phrases can be divided into four, they are adjunct, disjunct, subjunct, and conjunct. From the four of this, adjunct is the type that most often occur in The Tell-Tale. Thus, the study will only focus on the adjunct to represent the distribution and significance of adverbial phrases. The other grammatical function may have different significance. The data taken are only a few to represent each category. The rest of the classification is in the appendix. The data is collected based on the order of appearance.
There are four types of adjunct that occur in the story. They are Adjunct of Space (AoS), Adjunct of Time (AoT), Adjunct of Process (AoP), and Adjunct of Contingency (AoC). In addition, the semantic roles that occur in the story are Space (Position, Direction), Time (Position, Duration, Frequency, Relationship), Process (Manner, Instrument, Agent), and Contingency (Purpose and Result). There should be Adjunct of Respect in this classification, however, there is no data of it found in The Tell-Tale Heart. Thus, the writer will only focus on these four types of grammatical function.
Table 5. The Distribution of Adverbial Phrases Based on Types in The Tell-Tale Heart
Here are the adjuncts and some examples of their clauses taken from the story with explanation of their functions.
a. Spatial Position
(4) I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening, and the old man sprang up in bed, crying out --"Who's there?" (p. 278)
(5) I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. (p. 281) In sentence (4), there are three adjuncts of space with position semantic roles. Three of them point out three different positions. First is in. This adjunct explains the position of the narrator’s head in which was in the room. Second is
upon the tin fastening. This adjunct explains the position where the narrator’s thumb slipped, the exact position was on the tin fastening. Third is in the bed. This adjunct
Grammatical Function & Semantic Role Total
Spatial Position 39
Spatial Direction 14
Temporal Position 26
Temporal Duration 17
Temporal Frequency 9
Temporal Relationship 6
Process Manner 64
Process Instrument 2
Process Mean 3
Process Agent 2
Contingency Purpose 9
explains the position of the old man who woke up as the result of the narrator’s
action. It is the same for sentence (5). The adjunct upon the boards explains the position of the narrator’s action.
b. Spatial Direction
(6) I proceeded with what caution --with what foresight --with what dissimulation I went to work! (p. 277)
(7) …, for I had directed the ray as if by instinct, precisely upon the
damned spot. (p. 279)
In sentence (6), the adjunct of space with direction as sematic of role is the complement for the action verb went. They define the direction where the narrator went. In the sentence (7), the adjunct is upon the damned spot. Even though the preposition of the adjunct is upon which is same as in sentence (4) and (5), however, the verb makes the difference of the adjunct. The verb directed is complemented by the adjunct with the preposition upon.
c. Temporal Position
(8) And now at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror. (p. 279)
(9) Presently I heard a slight groan, and I knew it was the groan of mortal terror. (p. 278)
Sentence (8), (9) and (10) are examples of sentences with adjunct of time and position as the semantic role. In sentence (8) and (9), the adjuncts show the position when the action occurred in narrator’s ‘present’ point of view. In sentence
(10), the adjunct then points out a certain time from the narrator’s ‘future’ time position point of view.
d. Temporal Duration
(11) His fears had been ever since growing upon him. (p. 279)
(12) So I opened it --you cannot imagine how stealthily, stealthily–until, at length a single dim ray, like the thread of the spider, shot from out the crevice and fell full upon the vulture eye. (p. 279)
(13) I placed my hand upon the heart and held it there many minutes. (p.280)
(14) Yet, for some minutes longer I refrained and stood still. (p.279) In contrast to the previous type of adjunct which time is conceived as fixed point, this type of adjunct relates to time as a linear dimension (past, now, future). In this type, the adjuncts may have orientation to the speaker’s ‘now’ or they can be more general temporal issue, thus not requiring orientation to the speaker’s
‘now’. Sentence (11) is an example of backward span adjunct. Adjunct since explains the action from certain past time going to narrator’s now. Sentence (12) is
e. Time + Frequency
(15) He had never given me insult. (p. 277)
(16) …, but I found the eye always closed; and so it was impossible to do
the work; … (p.278)
(17) And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, … (p. 278)
Adjunct of time with frequency as a semantic role is the type of adjunct that responds to ‘How often?’. Sentence (15) is the example the frequency that the
action not once ever happened. However, still, it is included to the definite frequency because of its clearness. In sentence (16) and (17), the adjuncts do not clarify how many times an action occurs, therefore the reader cannot identify the exact number. If a clause using a more definite word, such as twice, or four times, the reader can distinguish the frequency more clearly.
f. Temporal Relationship
(18) He was still sitting up in the bed listening; … (p. 278)
(19) If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. (p. 280) This type of adjunct indicates “a relationship between two times position
that are both being considered in utterance are realized by forms that serve more than one function” (Biber et al., 1999: 550). It means that the adjuncts connect
mentions the old man had not lied down. Still in sentence (19) also relates time in the sentence with the story.
g. Process Manner
(20) And then, when my head was well in the room, I undid the lantern cautiously --oh, so cautiously --cautiously (for the hinges creaked) … (p. 278)
(21) … and so I knew that he could not see the opening of the door, and I
kept pushing it on steadily, steadily. (p. 278)
(22) The night waned, and I worked hastily, but in silence. (p. 280) (23) I then replaced the boards so cleverly, so cunningly, that no human eye -- not even his --could have detected any thing wrong. (p. 280)
This type of adjunct is the type that occurs the most often in the story. The function of this type is simply to describe the way in which something is done. The adjuncts modify the verb and give the quality about how the action is performed. In the examples of this type above, all of them explain how the narrator did his action.
h. Process Instrument
(24) –now, I say, there came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. (p. 279)
(25) It was a low, dull, quick sound --much such a sound as a watch makes when enveloped in cotton. (p. 281)
the sound of a watch when enveloped in cotton. It makes the reader easier to imagine the sound.
i. Process Mean
(26) Yes, he had been trying to comfort himself with these suppositions: but he had found all in vain. (p. 279)
(27) I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men -- but the noise steadily increased. (p. 281) This type of adjunct may be similar to the previous type. However, there is a difference between them. While Instrument explains the item used to accomplish the action, Mean explains the methods or means by which the action was accomplished. Therefore, it is clear that in sentence (26) and (27), the adjuncts of Process + Mean describe the way how the doer did his action.
j. Process Agent
(28) And now a new anxiety seized me --the sound would be heard by a neighbor! (p. 279)
(29) A shriek had been heard by a neighbor during the night; suspicion of foul play had been aroused; … (p. 280)
There are two data found for this type and both are the same, that is by a neighbor. The neighbor is the agent of the verb heard and included in this kind of type because the statement is in form of passive construction.
k. Contingency Purpose
(31) … information had been lodged at the police office, and they (the
officers) had been deputed to search the premises. (p. 280)
(32) In the enthusiasm of my confidence, I brought chairs into the room, and desired them here to rest from their fatigues …(p. 280)
This kind of adjunct is quite easy to find in the data because all of them start with the preposition of to. Adjunct of Contingency + Purpose explains can be paraphrased to ‘for the purpose of’. Therefore, it describes what the speaker want
to achieve by his action.
3. Types of Adverbial Phrases Used in Three Position of Occurrences
This part discusses whether the position of adjunct has an influence to the types of adjuncts in the story or vice versa. This discussion is answering the first problem formulation in this study, the distribution of adverbial phrases (adjuncts) in The Tell-Tale Heart.
These are the occurrence of adjunct phrases in the story. Adjuncts of process dominate by number the appearance of adjunct in the story. It means that the author gives more attention to the verbs because adjunct of process is used to add details or modify the verb. The second adjunct that often appears is adjunct of time. They are to convey the time-related meanings. It can deal with the position in time, duration about how long an event lasted, and frequency of an event.
The third adjunct that quite often appears is adjunct of space. This kind of adjunct is used to explain the position, source, or direction of an action. The spaces are not limited only in reality space, but also abstract space. The last adjunct that infrequently appears is adjunct of contingency. This adjunct covers “circumstance adverbials that shows how one event or state is contingent upon another” (Biber et al., 1999: 779). It means that the adjunct must be related or connected to another element in a sentence, and in this case, adjunct of contingency is related to purpose and result.
From the table above, the distribution of adjuncts can be comprehended more clearly. From all types of adjunct, the types appearing in the Middle Position are one of the most frequent in the story. Its average is more than types of adjunct in Initial Position and Final Position. Types of adjunct occur in the Final Position is the second type that quite frequent occur. Types of adjunct in Initial Position rarely occur in the story. They only occur in three types of adverbial phrases with low percentages.
usually modify or give explanation about how, when and where the action happened. The flexibility of adjuncts in Middle Position can be placed before or after the verb. It may give more information in the middle of sentence for the reader. The information from the adjuncts around the verb summon the reader’s imagination about the manner, time, and place of an event at once because they are still in the middle of sentence. Therefore, it can be concluded that adjuncts in Middle Position are contributing in igniting the reader’s imagination to the situations or event in the story.
B. Significance of Adverbial Phrases in the Short Story
From the data collected of adverbial phrases in the stories, the type of adverbial which most frequently appears based on grammatical function is adjunct. This type represents the analysis of the adverbials. Thus, the other grammatical function such as disjunct, subjunct, and conjunct is not discussed in this study.
Adjuncts, in all kind of texts, can answer the questions How? When? Where? Why?. These answers are received by the readers’ mind subconsciously because before them asking this question to the text, adjuncts have already given explanation about it. They give more detailed description to a text. However, unlike adjectives that only give description to a noun, adjuncts do not merely serve the function of qualifying only one type of lexical category. They are more flexible to modify another lexical category. Adjunct’s capability to give various description in
story may convey a hidden or symbolic message in the adverbials, and make invite the reader’s attention to understand deeper the adjuncts used by the author.
Therefore, their stylistic significance may vary according to their function in the clause, but still the description of adjuncts used by author is observable.
In this analysis, the writer discovered some findings about the significance of the adverbial phrases to the story. It is found how something is being clarified or modified by other features. Here are some results from analyzing the adjunct phrases in The Tell-Tale Heart.
1. The Settings of Events
This is a common knowledge that an adverb of place and an adverb of time describe the setting of space and time of an event. The description of the setting makes the reader imagine the situation or even feel the atmosphere of the setting. The example below shows how the setting is described.
It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha! --would a madman have been so wise as this? (And then, when my head was well in the room, I undid the lantern cautiously --oh, so cautiously --cautiously (for the hinges creaked) --I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights --every night just at midnight --but I found the eye always closed; and so it was impossible to do the work; for it was not the old man who vexed me, but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he has passed the night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept. (p. 278)
duration of time, and frequency of time. The adjunct in the room refers to the old man’s room. The description of the room is explained in another sentence. It is
described that the room was as black as pitch with the thick darkness and the shutters were close fastened, through fear of robbers. This adjunct explains the space position of the event. In this place, the narrator stalked and killed the old man. Next adjunct that shows the setting of the event is adjuncts of time. The adjunct for seven long nights --every night just at midnight and that every night, just at twelve indicates the action was always done in midnight for seven days straight. This description of time is the typical of horror story, where something bad or scary would happen. Rarely authors write the setting of a murder in the morning or noon. Poe took this setting to make the readers feel the atmosphere of the murder setting. The second adjunct is adjunct of time every morning. This time frequency is different from before and the action is also different. In every morning, the narrator tried to provoke the old man. The writer is certain the narrator cannot kill the old man in the day because he was afraid of what he did was heard by neighbors. Then, on the midday, the narrator provoked him intentionally to resolve himself to kill the old man.
Adjunct of time with a semantic role of position can also describe the setting of the action. In this story, we have to follow the time from the narrator’s
perspective to understand the time.
room. He shrieked once --once only. In an instant I dragged him to the floor, and pulled the heavy bed over him. I then smiled gaily, to find the deed so far done. (p.279)
The adjunct now at the dead hour of the night clearly points out a certain time position. If we take a look at the meaning, dead hour means the time when the most people die in their sleep in hospital, around 3 a.m. until 4 a.m. Relating to the story, this is the time when people are generally sleeping deepest, so things are quietest. Therefore, the author used this adjunct to increase the tension of the narrator’s murder intent to the readers by creating the atmosphere of time that is
scary.
The next adjunct is another adjunct of space that shows the setting where the characters are.
I smiled, --for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I mentioned, was absent in the country. I took my visitors all over the house. I bade them search --search well. I led them, at length, to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my confidence, I brought chairs into the room, and desired them here to rest from their fatigues, while I myself, in the wild audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of the victim. (p. 280)
The adjuncts in this paragraph are used to describe the position of the characters. The narrator and the officers were in the old man’s house. The narrator
From Table 6, the distribution of adjuncts of space and adjuncts of time mostly appear in Middle Position and Final Position. The adjuncts in Middle Position invite the reader’s attention to the modifier of the verb because of the position of the adjuncts which near with the position of the verb. The percentage domination shows that Poe uses a lot of adverb in Middle Position to make the reader aware with what situation described with the adjuncts around the verbs. While the adjuncts in Final Position have quite high number of appearance, because Poe sometimes uses them as the main focus of the description of the text, as content word in the last position can be the most important (Leech, 1981: 212).
Data above has proved that adjuncts of time and space are used to explain the settings are able to inform the reader about the environment and situation of the story. Both adjunct of time or adjunct of space contribute for making the setting suitable to atmosphere of the story, that is murder story. Thus it can be concluded that these adjuncts significantly affect the story.
2. Goal of a Character
In a story, there must be a certain goal that wanted to be achieved. The plots are inseparable from characters in minimal sense of agency or purposive human action. They are explicable by reference of happiness goals (Jannidis, Lauer, Martínez, & Winko, 2010: 137). The goals of characters may be various, depending on how the character sees his happiness (personal or social). Personal happiness is a kind of happiness which only one person that can feel it, e.g. the narrator’s happiness is when he could get rid of the old man’s vulture eyes forever. Social
happiness is pursued for the sake of the others, e.g. when the officers arrested the killer, it makes not only the officers happy, but also the neighbor who reported the case. If there is more than one happy individual, then social happiness is achieved. In the story both kind of goals exist.
In The Tell-Tale Heart, some characters also have their own goals. The first character is the main character in the story that is the narrator. He used I-narrator in telling his story.
It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! yes, it was this! He had the eye of a vulture --a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees -- very gradually – I made up my mind to take the life of the old man, and thus rid myself of the eye forever. (p. 277)
From the adjunct of purpose above, it is clear that the narrator was disturbed by the eye and the only way to free from it was by killing the old man. This is a personal goal because the narrator wanted to achieve his goal for himself. The statement of the goal is mentioned by the narrator, which is also the character, it increases the anticipation of the reader. It creates the expectation on the reader whether the narrator would successfully kill the old man or not. This is the main point of adjunct of process, increasing the expectation of the story plot.
Another character that has goal in the story is the officers. The goal of the officers is the opposite of the narrator. It can be said that the officers’ goal is the
anti-climax for the narrator.
fear? There entered three men, who introduced themselves, with perfect suavity, as officers of the police. A shriek had been heard by a neighbor during the night; suspicion of foul play had been aroused; information had been lodged at the police office, and they (the officers) had been deputed to search the premises. (p. 280)
The adjunct to search the premises is the goal of the officers. They were asked to find clues about the report from the neighbor. This is a social goal. The officers wanted to achieve the goal for someone’s else good, in the story that is the
neighbor. The goal is to counter the narrator’s action. This adjunct is also significant to develop the complexity of the story. Without the officers’ goal and action, the story would be boring because there would be no anti-hero. The officers’ goal also adds the expectation to the reader about “Will they capture the culprit?” or “how they will arrest the narrator”.
In order to achieve a goal, a certain action has to be done. Van Dijk points out that “an analysis of action sequences requires a concept of
SUCCESSFULNESS, and an action is FULLY SUCCESSFUL if the final result of the action is identical with the purpose” (1977: 175). It means in a story, a
completed purpose has a certain degree of accomplishment, and if a character did his action and met his expectation, it is called fully successful. In sentence (30), it shows that the narrator’s purpose was to kill the old man, and he did it. Thus, it is a
fully successful action.
The example above is the opposite of the previous. The adjunct shows that the old man wanted to comfort himself, but it was futile. When the action was conducted and the result did not meet the purpose, thus it is an unsuccessful action. Adjunct of purpose in The Tell-Tale Heart can give significant effect to the reader. The effect is to increase the anticipation of the story plot. It describes what the characters want to achieve in the story. Contrast goals between two characters usually are the things that make a story interesting. Additionally, it leads to the readers’ presumption about how the story will flow. Thus, if the adjuncts are
success in inviting the reader to make expectation, then the story plot will be easy to be followed by anyone.
3. Character’s Mood
There are some character’s moods in the story that can be observed from
the adjunct used by the author. One of the characters is the narrator. The author may not write as himself in his story, but he can act as other person or even just act as an observer. Poe uses I-narrator to tell about his story. It is used to distinguish between him and the narrator in his work. Leech states the I-narrator as a primary character creates a personal relationship with the reader which tends to bias the reader in favor of the narrator/character (1981: 265). It means that the source could be not reliable.
the reliability is questionable. However, still it is worthwhile to study his mood from his own perspective by observing the adjunct that he used.
…I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily -- how calmly I can tell you the whole story. (p. 277)
There are two adjuncts of process in the first paragraph describing that he was not mad, which are healthily and calmly. Both are explaining that he was fine and not disturbed by anything. They invite the reader to believe that his mood was calm when telling his story. They could be more convincing if they are stated by a third person.
After the beginning of the story, the narrator shows another mood by his manner. When he was stalking the old man, some adjunct of process are mentioned in the story.
by name in a hearty tone, and inquiring how he has passed the night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept. (p. 277-278)
The adjuncts above show how the narrator did his action. The first adjunct in this paragraph is wisely. It is quite similar to the previous mood that stated the narrator was sane and astute. Next adjuncts are --with what caution --with what foresight --with what dissimulation which modify verb went. They all add details about what the narrator can do when accomplishing his intention. It creates a serious mood. It is because the narrator did everything he could to kill the old man. Further, adjunct gently, slowly and cautiously explain that the narrator did every action carefully. When the reader read every adjuncts of process above, he would understand that the narrator’s mood was very cautious. The adjunct slowly is
repeated twice and cautiously is repeated three times. It is repeated because there is a prominence that the author wants to deliver to the reader.
In order to drill the emotions of the narrator and apply it to the reader, the author foregrounded this part by repeating the adjunct. Thus, when the repetition adjuncts successfully invite the reader’s attention, the character’s mood, which in
this context is being cautious, can be seen obviously.
In this part, when the narrator had dismembered and hid the corpse, he heard a knock at the door. Then, he opened it with a light heart. This adjunct of process clearly describes that the narrator was in good mood. With a light heart gives opposite impression from the other adjuncts that the narrator told before. It gives a bright impression to his action. Adjunct calmly or healthily gives neutral impression. The narrator was fine and good. The adjunct cautiously which gives a rather dark impression. It is because someone who does something cautiously usually is up to something that he does not want the others to know about it or to prevent something bad happen if he does it carelessly. Adjunct cautiously also increases the tension of the action when the reader read the story.
To summarize, adjuncts give hint about the implicit elements in the story, where the reader’s senses (vision) in the story are depending on how the narrator
42 CHAPTER V CONCLUSION
The Tell-Tale Heart is a short story written by a famous American author, Edgar Allan Poe. It was published in 1843 in a Boston magazine, The Pioneer. The story is about an anonymous narrator who killed an old man because the narrator
was disturbed by the old man’s eyes. The narrator tried to act unsuspiciously when
the officers came to check, but in the end, the narrator confessed his crime. Poe uses I-narrator point of view to tell the story. Poe gives the narrator authority to tell his
story from the narrator’s point of view. The way author tells the story by using
adjunct adverbial phrases.
The adjuncts’ position determines the contribution to the story. When an
adjunct appears in the initial position, it immediately points out the manner or situation before the action is described in the sentence. When the adjunct appears in the middle or final position, it may modify or complement the verb. The grammatical function that is discussed is Adjunct, which covers Space, Time, Process, and Contingency. The semantic roles of adjunct in the story are Position, Direction, Frequency, Relationship, Manner, Instrument, Mean, Agent, and Purpose. Thus, these roles give different explanations throughout the story.
in a story must have a certain goal, thus, a Contingency adjunct with a semantic role
of purpose will explain the goal. Third, adjuncts give details about the characters’
moods. The moods can be clearly seen in their manner of action. If the adjunct of process is studied, the mood can be revealed.
The points above show that the author’s style of writing affects his works
of literature. The choice of words in the narration eventually will influence the
reader’s emotion towards the story. How the setting is illustrated and how the action
44
BIBLIOGRAPHY
Biber, Stig Johansson, Geoffrey Leech, Susan Conrad, Edward Finegan. Longman Grammar of Spoken and Written English. Edinburgh: Pearson Education, 1999.
Delahunty, Gerald and James Garvey. The English Language from Sound to Sense. Indiana: Parlor Press, 2010.
Ernst, Thomas. Semantic Features and the Distribution of Adverbs. Berlin, New York: Mouton de Gruyter, 2003.
Fromklin, Victoria, David Blair, Peter Collins. An Introduction to Language. Sydney: Harcourt, 2000.
Jackendoff, Ray. Semantic Interpretation in Generative Grammar. Cambridge: Massachusetts Institute of Technology Press, 1972.
Janidis, Gerhard Lauer, Matías Martínez, Simone Winko. Characters in Fictional Worlds. Berlin: Walter de Gruyter GmbH & Co. KG, 2010.
Jonathan, Irene. Significances from The Use of Adverbs Ending with –ly
Modifying Verbs of Speaking in Sophie Kinsella’s Confession of a
Shopaholic. Thesis. Yogyakarta: Sanata Dharma University, 2011. Leech, Geoffrey N. Style in Fiction. London: Longman, 1981.
Poe, Edgar Allan. Tales, Poems, Essays. London: Collins Clear-Type Press, 1952 Quirk, Randolph. A Comprehensive Grammar of the English Language. London:
Longman, 1985.
Simpson, Paul. Stylistics a Resource Book for Students. New York: Routledge, 2004.
Van Dijk, T. Text and Context: Explorations in The Semantics and Pragmatics of Discourse. London: Longman, 1977.
Verdonk, Peter. Stylistics. Oxford: Oxford University Press, 2002.
46 APPENDICES
Appendix 1: Table 7. Distribution of Adjunct Phrases
Page Adjunct Phrase Position Grammatical
Function
heaven and in the earth. Final Space Position I heard many things in
hell. Final Space Position
How, then, am I mad? Middle Time Position
.., and observe how
healthily... Middle Process Manner
… how calmly I can tell
you the whole story. Middle Process Manner It is impossible to say
how first.. Middle Time Relationship
... entered my brain;… Middle Space Position
…but once conceived, … Middle Time Frequency
an insult. Middle Time Frequency
Whenever it fell upon
me, my blood ran cold… Middle Space Position and so by degrees -- very
gradually… Middle Process Manner
I made up my mind to take the life of the old
man… Middle Contingency Purpose
…, and thus rid myself of
the eye forever. Final Time Duration
Now this is the point. Initial Time Position You should have seen
how wisely I proceeded… Middle Process Manner
… I proceeded with what
Page Adjunct Phrase Position Grammatical
during the whole week… Middle Time Position And every night, about
midnight, … Middle Time Frequency
… I turned the latch of
sufficient for my head… Middle Time Position
… so that no light shone
I moved it slowly… Middle Process Manner
… --very, very slowly… Middle Process Manner
278
It took me an hour… Middle Time Duration
… to place my whole head within the
opening… Middle Contingency Purpose
... that I could see him as
always closed;… Middle Time Frequency
…; ; and so it was
impossible to do the
work… Middle Contingency Purpose
And every morning,
Page Adjunct Phrase Position Grammatical
chamber… Middle Process Manner
…, I went boldly into the
chamber… Middle Space Direction
…, and spoke
courageously to him,… Middle Process Manner
…, calling him by name
cautious, … Initial Time Position
… I was more than
own powers,… Initial Time Position
I could scarcely contain
my feelings of triumph. Middle Process Manner To think that there I was,
opening the door, little by
little… Middle Process Manner
Page Adjunct Phrase Position Grammatical
nothing. Middle Process Manner
For a whole hour I did
not move a muscle,... Initial Time Duration
…, , and in the meantime I did not hear him lie down.
Middle Time Position
He was still sitting up in
the bed listening;… Middle Time Relationship
He was still sitting up in
the bed listening;… Middle Space Position
Page Adjunct Phrase Position Grammatical
the first slight noise,… Middle Time Duration
…, when he had turned
in the bed. Final Space Position
His fears had been ever
since growing upon him. Middle Time Duration His fears had been ever
since growing upon him. Final Space Position He had been trying to
fancy them causeless,… Middle Contingency Purpose He had been saying to
crossing the floor,".. Middle Space Position Yes, he had been trying a little --a very, very little crevice in the lantern
