INTRODUCTION
Rationale
Since prehistoric times, humans have utilized actions, sounds, and gestures to communicate, forming organized communities This interaction is essential for establishing societies with institutions that unite members Language has emerged as a vital tool for expressing feelings, emotions, needs, and intentions, facilitating effective communication.
Effective communication is a fundamental necessity in human society, enabling individuals to understand each other's backgrounds, intentions, and personalities It facilitates the continuous exchange of information, serving various purposes through verbal interactions.
In conversations, participants take turns speaking, as highlighted by Levinson (1983:296), who notes that dialogue is defined by this turn-taking process During a conversation, one person listens while another speaks, and roles of speaker and listener are exchanged throughout the dialogue This turn-based interaction resembles gameplay, where procedures remain consistent, emphasizing that individuals should wait for their turn to speak without interruptions Cutting (2002:29) emphasizes the importance of cooperation among participants in managing turn-taking, which often signifies a successful conversation.
Conversations lack clear principles, leading to frequent disturbances, unlike games where established rules minimize disruptions The absence of defined guidelines in conversations also means there are no specific penalties for deviations.
In conversations, dialogue disturbances often arise when one participant speaks over another These interruptions can serve various purposes, including positive intentions like seeking clarification, offering support, or correcting information Conversely, they may also stem from negative motivations, such as changing the subject, expressing disagreement, or conveying urgency Understanding these dynamics is essential for effective communication.
Zimmerman and West (1975) identify two main types of disturbances in conversation: interruption and overlap An interruption occurs when a participant speaks during another's speech, while overlap happens when one begins speaking just as the other is finishing Such irregularities are often viewed as impolite or inappropriate, highlighting the importance of understanding conversational norms Studying these anomalies can provide insights into effective communication and the personality traits that influence turn-taking behavior, making the topic of turn-taking irregularities a compelling area of research.
Turn-taking Irregularities in Romeo and Juliet” is chosen by the researcher for this thesis
This research analyzes an interesting play entitled Romeo & Juliet which contains a lot of attracting conversations for the thesis This research chooses
The play "Romeo and Juliet" showcases intriguing anomalies in the dialogues among its characters, characterized by frequent arguments and contradictions This leads to interruptions and the stealing of speaking turns as characters pursue their objectives Additionally, the complex relationships, along with varying ages and genders, contribute to the play's compelling nature The setting further intensifies the characters' conversations, often resulting in heated exchanges.
1.2 Aim and objective of the study
The study is aimed at suggesting Vietnamese learners of English have more reference material about turn-taking irregularities in “Romeo and Juliet”
The study aims to provide students at the Hanoi Academy of Theatre and Cinema with additional reference materials on turn-taking irregularities in "Romeo and Juliet," thereby broadening their understanding beyond traditional theatre and cinema studies.
To gain the target above, the study concentrates on dealing with some mean objectives as follows:
- To identify the types of turn-taking irregularities reflected in Romeo &
- To find out the reasons for the occurrences of turn-taking irregularities done by the characters in the play
- To identify The main characters’ personality trend through pragmatic analysis of turn-taking irregularities in “Romeo & Juliet”
- To suggest Vietnamese learners of English use turn-taking irregularities in terms of pragmatic analysis of turn-taking irregularities effectively
To fully achieve these above aims, the research focuses on dealing with the following questions:
1 What types of turn-taking irregularities are found in Romeo & Juliet?
2 What are the reasons for the occurrences of turn-taking irregularities in Romeo & Juliet?
3 What is The main characters’ personality trend through pragmatic analysis of turn-taking irregularities in “Romeo & Juliet”?
This study utilized both quantitative and qualitative methods to analyze turn-taking irregularities in the play The quantitative approach emphasized the collection of statistical and numerical data, while the qualitative approach provided deeper insights into the context of these irregularities.
This article delves into the intricacies of turn-taking irregularities within a play, utilizing data collected from performances to analyze their underlying purposes The researcher highlights how these irregularities are influenced by the characters' roles, ultimately revealing insights into the main characters' personality trends through this analysis.
This study explores pragmatics, a branch of linguistics that examines language use in dramatic contexts It specifically investigates the irregularities in conversational exchanges, highlighting the significance of these abnormalities in communication.
The play "Romeo and Juliet" features numerous turn anomalies, reflecting the characters' unusual and alternating behaviors Analyzing the dialogue reveals various issues related to these irregularities, highlighting their types and underlying purposes.
This study aims to enhance the understanding of pragmatics among English department students, particularly in the area of irregular reception Additionally, it seeks to broaden the knowledge of linguistics for readers interested in this field.
This study aims to present an innovative approach to language learning through the use of plays Additionally, the findings are intended to serve as a valuable reference for linguists interested in conducting a more comprehensive pragmatic analysis of irregularities and alternative rules in language.
This study includes four chapters and the appendixes, the references
Chapter 1, Introduction, presents the reason why the topic, the aims, the objectives, the scope, the significance and the structural design of the research are offered
Chapter 2, Literature Review, shows the previous studies, theoretical background and theoretical framework relating to turn-taking irregularities
Chapter 3, Finding and Discussion, presents types of turn-taking irregularities, reasons for turn-taking irregularities, and the main characters’ personality trend in “Romeo & Juliet”
Chapter 4 concludes by reiterating the research aims and summarizing the methods used to achieve the objectives Additionally, it discusses the limitations encountered during the study and offers suggestions for future research endeavors.
Research questions
To fully achieve these above aims, the research focuses on dealing with the following questions:
1 What types of turn-taking irregularities are found in Romeo & Juliet?
2 What are the reasons for the occurrences of turn-taking irregularities in Romeo & Juliet?
3 What is The main characters’ personality trend through pragmatic analysis of turn-taking irregularities in “Romeo & Juliet”?
This study utilized both quantitative and qualitative methods to analyze turn-taking irregularities in the play The quantitative approach emphasized the collection of statistical and numerical data, while the qualitative approach provided deeper insights into the context of these irregularities.
This article delves into the intricacies of turn-taking irregularities within a play, utilizing data collected from performances to analyze their underlying purposes The researcher highlights how these irregularities are influenced by the characters' roles, ultimately revealing insights into the main characters' personality trends through this analysis.
This study explores pragmatics, a branch of linguistics that examines language use in dramatic contexts, specifically focusing on the irregularities in conversational exchanges.
The play "Romeo and Juliet" features numerous turn anomalies, reflecting the characters' unusual and alternating behaviors Analyzing the dialogue reveals various issues related to these irregularities, highlighting their types and underlying purposes.
This study aims to enhance the understanding of pragmatics among English department students, particularly in the context of irregular reception Additionally, it seeks to broaden the knowledge of linguistics for readers interested in the subject.
This study aims to present an innovative approach to language learning through the use of plays The findings are intended to serve as a valuable reference for linguists, especially those interested in conducting a more comprehensive pragmatic analysis of irregularities and alternative rules in language.
This study includes four chapters and the appendixes, the references
Chapter 1, Introduction, presents the reason why the topic, the aims, the objectives, the scope, the significance and the structural design of the research are offered
Chapter 2, Literature Review, shows the previous studies, theoretical background and theoretical framework relating to turn-taking irregularities
Chapter 3, Finding and Discussion, presents types of turn-taking irregularities, reasons for turn-taking irregularities, and the main characters’ personality trend in “Romeo & Juliet”
Chapter 4 concludes by reiterating the research objectives and summarizing the methods used to achieve them It also discusses the limitations encountered during the study and offers recommendations for future research endeavors.
Scope of the study
This study explores pragmatics, a branch of linguistics that examines language use in dramatic contexts It specifically investigates the irregularities in conversational turn-taking.
"Romeo and Juliet exhibit numerous turn anomalies, reflecting the characters' unusual and alternating behaviors throughout the play Analyzing the dialogue reveals various types and purposes behind these irregularities, shedding light on the complexities of the characters' interactions."
Significance of the study
This study aims to enhance the understanding of pragmatics among English department students, particularly regarding irregular reception Additionally, it seeks to broaden the knowledge of linguistics for readers interested in the subject.
This study aims to present an innovative approach to language learning through the use of plays The findings are intended to serve as a valuable reference for linguists, especially those interested in conducting a more comprehensive pragmatic analysis of irregularities and alternative rules in language.
Structure of the study
This study includes four chapters and the appendixes, the references
Chapter 1, Introduction, presents the reason why the topic, the aims, the objectives, the scope, the significance and the structural design of the research are offered
Chapter 2, Literature Review, shows the previous studies, theoretical background and theoretical framework relating to turn-taking irregularities
Chapter 3, Finding and Discussion, presents types of turn-taking irregularities, reasons for turn-taking irregularities, and the main characters’ personality trend in “Romeo & Juliet”
Chapter 4 concludes by reiterating the research aims and summarizing the methods used to achieve the objectives Additionally, it discusses the limitations encountered during the study and offers recommendations for future research endeavors.
THEORETICAL BACKGROUND AND LITERATURE REVIEW
Review of previous studies
The researcher examines previous studies by experts and students that apply theories of pragmatics and turn-taking, particularly focusing on irregularities in turn-taking, to analyze communication in drama and movies.
Faizal Risdianto (1916) analyzed the dialogue implications in Oscar Wilde's short story "The Happy Prince," highlighting the implied meanings of the characters' interactions His research, grounded in Gricean theory, explores the principles of cooperation and politeness within the narrative.
Eman Adil Jaafar (2016) explores the challenges of stylistic analysis in dramatic texts in his paper “Examining the Language of Drama Texts with a Reference to Two Plays: A Stylistic Study.” He focuses on G B Shaw's "Major Barbara" and David Hare's "Knuckle," comparing their writing styles and linguistic differences Utilizing the model of Thornborrow and Wareing (1998), Jaafar provides researchers with essential tools for conducting discursive and pragmatic analysis of plays.
Shoaib Ekram (2006) emphasizes the importance of utterance in understanding drama, highlighting that it encompasses extra-linguistic elements such as context, roles, locations, and participant preferences Effective turn management is crucial for maintaining smooth interactions, while dialogue reveals key insights into the plot, themes, and character roles The research specifically examines interruptions in Mahesh Datani's play, "Bravely Fight the Made Utari Prabesti," drawing parallels with characters from Rhymes' Grey's Anatomy Series-Season 1.
A study by Christanti (2000) and Sampouw (2003) examines interruptions among characters in the film "Shakespeare in Love." The researchers analyzed interruptions within the context of the film, classifying their types and identifying underlying reasons Their work aims to enhance the understanding of human interactions, while also providing strategies for interrupting others in a respectful manner.
The study was produced by Jusuf Lambang Prasetyo (2014) "The Unusual
The study on conversational dynamics in Denzel Washington's film "The Great Debaters" employed conversation analysis to examine character interactions It revealed that 53% of dialogue instances were interrupted, while 47% involved overlapping speech Notably, seeking clarification accounted for 26.92% of abnormal conversational turns, and irregular trading purposes represented 3.84% of occurrences.
The study was written by Kistin Hidayati (2014) “A Pragmatic Analysis of
The study on turn-taking irregularities in "The Last Song" identified 34 instances of unusual turn-taking behaviors among characters These anomalies included interruptions (67.65%) and overlaps (32.35%), driven by various motivations such as tangential comments (23.54%), disagreements (11.76%), expressions of annoyance (14.71%), and subject changes (8.82%) Additionally, characters expressed urgency (10.00%), agreement (5.88%), support (2.94%), clarification (2.94%), and corrections (3.33%) Notably, there were two instances of abnormal changes aimed at expressing rejection (5.88%) Overall, the findings suggest that characters predominantly engage in anomalous turn-taking behaviors for negative reasons, particularly during conflicts.
The research titled “Conversational Analysis of Interruption and Overlap Uttered by Host and Guest in The Ellen Talk Show” conducted by Imanah (2015) employed conversation analysis as its primary method The study focused on examining the frequency of interruptions and overlaps during interactions between the host and guests.
In a study examining interruptions and overlaps in talk shows, it was found that interruptions occurred significantly more frequently than overlaps, with a total of 219 interruptions (86.6%) recorded Among these, hosts were responsible for 126 interruptions, while guests interrupted 93 times In contrast, overlaps were noted only 34 times, accounting for 13.4% of the interactions.
While "Romeo and Juliet" has been extensively analyzed through various critical lenses, there is a notable lack of pragmatic studies on the play Mick Short (1996) explored the social conflict between Juliet and her parents using Brown and Levinson's politeness theory, but his analysis does not fully address all relevant aspects Additionally, Rahmani's study focuses solely on the violation of Grice's maxims in select film examples This paper aims to provide a more comprehensive examination of these pragmatic issues within the play.
A significant number of researchers in the field of pragmatics are actively engaged in educational departments and research centers globally Their work often focuses on the pragmatic applications related to turn-taking, particularly the irregularities that occur during conversations For instance, Christanti's research investigates the types and reasons for interruptions in media, specifically in the study titled “Conversational Analysis of Interruption and Overlap Uttered by Host and Guest in The Ellen Talk Show” authored by Imanah.
(2015), the research is conducted by Jusuf Lambang Prasetyo (2014) with the title
The article explores the concept of irregular turn-taking in Denzel Washington's film "The Great Debaters," drawing inspiration from Sampouw's research on the reasons behind interruptions and overlaps in conversation The study aims to identify the factors contributing to these communication dynamics, highlighting the relevance of related research in understanding these phenomena.
The research draws on insights from nine studies regarding interruption and overlap in conversation, despite their differences These studies have enhanced the writer's understanding of turn-taking irregularities, specifically focusing on interruption and overlap Utilizing these findings, the writer aims to analyze turn-taking irregularities in the play "Romeo and Juliet" to explore character personality trends This innovative approach seeks to address the three hypothetical questions outlined in the thesis.
Theoretical background of Pragmatics
Pragmatics, according to the Cambridge Dictionary, examines how language is influenced by its context, how it is utilized to achieve goals or perform actions, and how words can convey meanings that differ from their literal interpretations Essentially, pragmatics focuses on the principles of communication within a social framework.
Linguistic fact analysis, as described by Leech and Short (1981:290), involves exploring meanings that arise not solely from the formal characteristics of words and structures, but also from their contextual usage The way statements are employed is closely tied to the context in which they are expressed.
Mey (2001:6) defines pragmatics as the study of language use in communication, focusing on the underlying premises that shape and influence this interaction It emphasizes how social conditions determine the way language is utilized in human communication.
Normative principles govern the communication dynamics between speakers and listeners, or writers and readers These rules facilitate comprehension of the language used, enabling listeners to grasp the meaning of each sentence and apply it appropriately to various situations and contexts.
Pragmatics shifts the focus of linguistic study from traditional elements like sounds and sentences to the effective communication of messages between language users According to Mey (2001:4), this modern approach emphasizes the production process of language and its creators, highlighting the importance of understanding how individuals convey meaning rather than merely analyzing the final linguistic product.
Words and structures serve as tools or catalysts in communication, playing a secondary role in pragmatic functioning The primary focus lies on utterances used in specific contexts, which rely on the speaker's knowledge of the language and its rules.
Pragmatics plays a crucial role in understanding human emotional states, as it uncovers the hidden layers of meaning behind words in conversation These layers often cannot be fully articulated, making the context—cultural and social—essential for interpreting a speaker's intentions Each community has its unique linguistic practices, which can pose challenges for outsiders trying to grasp the nuances of pragmatics Ultimately, pragmatics allows us to discuss intended meanings, assumptions, purposes, and the actions taken in communication.
Levinson (1983) views pragmatics as a deductive process, suggesting that by analyzing the sequence of utterances and the fundamental assumptions about language use, we can derive detailed inferences regarding the participants' assumptions and their communicative intentions.
To effectively engage in everyday language use, individuals must be capable of performing calculations in both production and interpretation This ability is influenced by our beliefs, emotions, and age, while also relating to conventional and abstract principles Pragmatics serves as a descriptive framework for this capability, applicable to both specific languages and language in general.
Crystal (1997:301) makes an allowance for language users and meanings in social communication
In the view of Yule (1996:3), "pragmatics has contextual meaning":
The study of speaker meaning
The study of contextual meaning
The study of how more gets communicated than is said
The study of the expression of relative distance
Pragmatics studies how language is utilized within specific communication contexts, focusing on how speakers and writers convey meaning to their audiences The relationship between language and context is essential, as it is shaped by the particular situations in which communication occurs.
Context plays a crucial role in determining the appropriate values of reference and implicature, as well as addressing various pragmatic issues The interpretation of an utterance's meaning relies heavily on the context, which is referred to as pragmatic meaning, and is shaped by the specific society or community in which it occurs.
Mey (2001:41) emphasizes that context extends beyond mere reference; it encompasses action and understanding the purpose behind things This understanding is crucial as it imparts true pragmatic meaning to our utterances, enabling them to be recognized as genuine pragmatic acts.
According to Halliday via Mayes (2003:46), meaning is analyzed not only in linguistic systems but also in the social systems in which it occurs:
(a) The field of discourse refers to what social action is taking place
The tenor of discourse encompasses the participants involved, highlighting their social roles and relationships This includes both the dynamics directly relevant to the interaction and those that are more enduring in nature.
The mode of discourse encompasses the role of language in communication, including aspects such as status, function, and the channel of communication, whether spoken or written It also involves various rhetorical modes, such as persuasive and expository, as discussed by Halliday and Hassan (Mayes 2003:46).
Van Dijk (2009) introduced the term "context model" The theory of context models that can explain some aspects of language use is addressed:
(a) classical speech act theory and the appropriateness conditions of speech acts can now be coherently accounted for in terms of the schematic structure of Context Models
(b) the subjective nature of Context Models also rejects the determinism of traditional sociolinguistic approaches to language variation in terms of fixed social ‘variables.’
Discourse genres are primarily shaped by the social context rather than just their discursive features Key elements such as the parliamentary setting, the roles of Members of Parliament, their political actions, objectives, and specialized knowledge and ideologies are essential in defining the genre of parliamentary debates Therefore, these factors should be integrated into Context Models for a comprehensive understanding.
TURN-TAKING IRREGULARITIES IN “ROMEO AND JULIET”
Types of turn-taking irregularities in “Romeo and Juliet”.…
3.2.1 In terms of Interruption in “Romeo and Juliet”
In the analysis of the play 'Romeo and Juliet', both the theoretical overview and practical examination reveal numerous turn-taking irregularities in character conversations The researcher identified a total of 41 instances of these irregularities throughout the dialogue.
Interruption, a key aspect of turn-taking irregularity, has been extensively studied by linguistic experts, revealing two main types: cooperative and intrusive In the analysis of Shakespeare's 'Romeo and Juliet', intrusive interruptions occur significantly more often, comprising 41.46% of instances, while cooperative interruptions account for only 9.76% This classic tragedy, centered on the feud between two families, illustrates how the love and death of the titular characters, Romeo and Juliet, stem from this animosity The play's acts and scenes are characterized by a provocative atmosphere, where characters infiltrate each other's lives, leading to more negative outcomes than positive Thus, intrusive interruptions serve to amplify the negative intentions expressed through the characters' letters and actions.
Cooperative interruption occurs infrequently, with only 4 instances making up 9.76% of the total This type of interruption is specifically employed in positive contexts, highlighting characters' cooperation in various situations.
29 standards that a classical play needs to produce a perfectly strategic scene, in particular, the ‘Romeo and Juliet’ lay Therefore, cooperative turn-taking irregularities happen with low frequency in the play
Despite the significant difference in the number of irregularities compared to 'Romeo and Juliet,' the quality of the play remains unaffected Both cooperation and infiltration serve various purposes, and the frequency of each should reflect the unique characteristics of the individual, including personality, attitude, behavior, relationship status, social status, age, and gender.
In the play 'Romeo and Juliet,' cooperative interruptions constitute only 9.76% of the dialogue, indicating that such interruptions occur primarily when subsequent speakers aim to positively assist, clarify, or agree with the current speaker.
Tut, dun’s the mouse, the constable’s own word
If thou art dun, we’ll draw thee from the mire—
Or, save your reverence, love—wherein thou stickest
Up to the ears Come, we burn daylight//, ho!
//Nay, that’s not so // I mean, sir, in delay
We waste our lights; in vain, light lights by day
Take our good meaning, for our judgment sits
Five times in that ere once in our five wits
At Juliet's house party, uninvited guests Romeo and Mercutio arrived, with Romeo longing to confess his love for Juliet, whom he had met only once As they approached the party, Mercutio noticed Romeo's hesitation and encouraged him, saying, "Tut, dun’s the mouse." This moment highlights the tension between Romeo's feelings and his uncertainty about expressing them.
In a moment of confusion, Mercutio attempts to convey his thoughts to Romeo, saying, "If thou art dun, we’ll draw thee from the mire," indicating a desire to help However, Romeo interrupts, expressing his misunderstanding with, "Nay, that’s not so." This prompts Mercutio to clarify his intentions, highlighting the importance of clear communication in their friendship.
Mercutio encouraged Romeo to act quickly, warning that the torch would extinguish soon However, his elaborate and poetic language left Romeo confused about the true meaning of his message.
The interruption in the dialogue prompted Mercutio to provide a clear explanation, resulting in a cooperative exchange aimed at clarification This type of interruption reflects a positive response, indicating that the next speaker is engaged and eager to contribute to the conversation.
Cooperative interruptions, characterized by agreement, assistance, and clarification, yield positive outcomes in conversations In contrast, intrusive interruptions have detrimental effects, as they often lead to the next speaker denying the current speaker and dominating the dialogue.
Intrusive interruptions in the play 'Romeo and Juliet' arise when characters interject for negative reasons, including disagreement, taking control of the conversation, or shifting topics This phenomenon highlights the dynamics of communication among the characters and serves to enhance the dramatic tension within the narrative.
The overlap happened in the below conversation between Sampson, Gregory, and Abram in public when all of the people of the two families were picking a fight:
GREGORY , Say “better”; here comes one of my master’s kinsmen
SAMPSON Draw if you be men Gregory,…
Gregory urged Sampson to persist in challenging Abram, leading to a heated debate about whose boss was more powerful However, when Sampson finally mustered the courage to express his thoughts, Abram quickly interrupted him, intensifying the conflict.
In other scene, transitional overlap happened in a context when the members of two families were fighting:
Enter Prince Escalus with his train
= = Rebellious subjects, enemies to peace,
Profaners of this neighbor-stainèd steel—
The Prince, the most powerful figure in the city, intervened to end the conflict between the Capulet and Montague families, commanding them to cease fighting immediately His authoritative voice compelled the men from both houses to comply, effectively halting the violence This decisive action marked a significant shift in the ongoing feud.
3.2.2 In terms of overlap in “Romeo and Juliet”
Overlap is a form of turn-taking irregularity, closely resembling interruptions in the play "Romeo and Juliet." According to the data presented in Table 1, interruptions occur 21 times, accounting for 51.22% of instances, while overlaps happen 20 times, making up 48.78% Among the 20 overlaps identified, there are 5 transitional overlaps (12.20%), 11 progressional overlaps (26.83%), and 4 recognitional overlaps (9.76%).
Transitional overlap occurs five times in the play 'Romeo and Juliet,' representing 12.20% of the dialogue This phenomenon arises when characters engage in conversation, discussing the potential to finish an ongoing turn while the current speaker continues Examples of transitional overlap can be observed throughout the text.
My noble uncle, do you know the cause?//
//I neither know it nor can learn of him
BENVOLIO Have you importuned him by any means?
MONTAGUE Both by myself and many other friends
Reasons of turn-taking irregularities in “Romeo and Juliet”
This theoretical study identifies two types of interruptions: infiltration and cooperation, each aimed at executing turn-based anomalous acts for distinct purposes The researcher has determined seven key reasons that contribute to these interruptions.
, but when investigating the ‘Romeo & Juliet’ play, the writer found 5 reasons: assistance, clarification, disagreement, floor-taking, and topic change
3.3.1 Reasons of Interruption in “Romeo and Juliet”
In the play 'Romeo & Juliet,' the researcher identified numerous instances of interruptions, where subsequent characters recognized the need to assist current speakers This often led to the interruption of dialogue to facilitate clearer communication These supportive breaks were frequently marked by pauses during ongoing speech, sometimes resulting from unnecessary expressions made by the next speakers.
36 guide the current speakers to get over this difficult situation In this study, the researcher has found some assistance interruptions as follows:
I have night’s cloak to hide me from their eyes, And, but thou love me, let them find me here
My life were better ended by their hate
Than death proroguèd, wanting of thy love JULIET
=By whose direction found’st thou out this place?
By love, that first did prompt me to inquire
Romeo leaps over the wall to meet Juliet, where he begins to share his feelings for her Juliet, however, interrupts him with her support, providing a cooperative moment that helps Romeo regain his composure and reconnect with reality.
Three words, dear Romeo, and good night indeed
If that thy bent of love be honorable,
Thy purpose marriage, send me word tomorrow,
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.=
I come anon.—But if thou meanest not well,=
JULIET By and by, I come.—
To cease thy strife and leave me to my grief
In this conversation, Nurse calls Juliet while she is warm beside Romeo, the call wakes her up, and interrupts passionate minutes with her beloved This creates a cooperative disruption
More light and light, more dark and dark our woes.=
NURSE Your lady mother is coming to your chamber
The day is broke; be wary; look about JULIET
Then, window, let day in, and let life out
In a private room, Romeo and Juliet engage in a conversation until they are interrupted by the Nurse's call Juliet responds to the Nurse, indicating that the interruption is cooperative, as the Nurse intends to support the ongoing dialogue between Romeo and Juliet.
In the play 'Romeo & Juliet,' communication between characters often falters, leading to interruptions for clarification When a message fails to reach its intended recipient, the next speaker may interrupt to seek clarification or ensure understanding of the conveyed message This dynamic highlights the importance of clear communication and the role of interruptions in facilitating dialogue The researcher has identified several instances of such clarification interruptions throughout the play.
MERCUTIO Tut, dun’s the mouse, the constable’s own word
If thou art dun, we’ll draw thee from the mire—
Or, save your reverence, love—wherein thou stickest
Up to the ears Come, we burn daylight =, ho!
=Nay, that’s not so I mean, sir, in
We waste our lights; in vain, light lights by day
Take our good meaning, for our judgment sits Five times in that ere once in our five wits
Mercutio encourages Romeo to act quickly before the torch extinguishes, employing elaborate language that confuses Romeo This leads to a cooperative interruption, allowing Mercutio to clarify his message.
In terms of the agreement, The researcher made an efford to look for it in the
‘Romeo & Juliet’ play, but there was any agreement interruption happening in the play
Disagreement interruption in the play 'Romeo & Juliet' occurs when one character disagrees with another, cutting off their speech before it concludes This form of interruption serves to express dissent and highlights the tension between characters The researcher identifies this type of interruption as a key element in the dialogue, illustrating how disagreement shapes interactions within the play.
GREGORY , Say “better”; here comes one of my master’s kinsmen
SAMPSON Draw if you be men Gregory,…
In a heated debate over whose boss is more powerful, Gregory urged Sampson to persist in challenging Abram However, when Sampson finally mustered the courage to express his thoughts, Abram swiftly interrupted him, leading to a disruptive exchange.
SAMPSON: Draw if you be men Gregory, remember thy washing blow (They fight) BENVOLIO
Put up your swords You know not what you do
When the conflict between the servants of the two families erupted, Benvolio intervened and momentarily halted the brawl His arrival served as a disruptive force, highlighting the discord present during the altercation.
MONTAGUE Thou villain Capulet! Hold me not;= let me go
=Thou shalt not stir one foot to seek a foe
The arrival of Mr and Mrs Montague at the scene of a brawl between the servants of the Capulet and Montague families highlights the deep-rooted feud between these two households Just as the Capulets and their grandparents arrived, Mr Montague's intervention sparked a disagreement, further escalating the tension between the rival families.
ROMEO Your plantain leaf is excellent for that
BENVOLIO For what, I pray thee?
ROMEO For your broken shin = BENVOLIO =Why Romeo, art thou mad?
In the dialogue, Benvolio encourages Romeo to move on from his sorrow over a girl, suggesting that if he doesn't love her, he should find another However, this prompts Romeo to contemplate death, expressing a desire to die with a handful of plantain leaves Benvolio quickly interrupts this dark thought, showcasing his disagreement with Romeo's drastic mindset.
MERCUTIO And to sink in it should you burden love—
Too great oppression for a tender thing.=
Is love a tender thing?= It is too rough, Too rude, too boist’rous, and it pricks like thorn
In this dialogue, Romeo interrupts Mercutio to express his disagreement with the current speaker's remarks.
It fits when such a villain is a guest
I’ll not endure him.= =He shall be endured
CAPULET What, goodman boy? I say he shall Go to
Am I the master here or you? Go to
You’ll not endure him! God shall mend my soul,
In this dialogue, Mr Capulet interrupts Tybalt to express his disapproval of Tybalt's intentions toward Romeo, highlighting the disruptive nature of their conversation.
ROMEO I stretch it out for that word “broad,” which added to the goose, proves thee far and wide a broad goose
MERCUTIO Why, is not this better now than groaning for love? Now art thou sociable, now art thou
Romeo, you embody both your true self and your artistic nature This foolish love resembles a natural instinct, wandering aimlessly to conceal its treasures.
BENVOLIO =Stop there, stop there
MERCUTIO Thou desirest me to stop in my tale against the hair
In this dialogue, Benvolio interrupts Mercutio to express his disagreement with Romeo's views, highlighting the tension between the characters.
The main characters’ personality trend through pragmatic analysis of turn-
An analysis of 14 characters in the play "Romeo and Juliet" reveals that 7 main characters are responsible for 33 instances of turn-taking irregularities, out of a total of 41 occurrences.
The researcher identifies seven main characters, categorizing them into two types: active and passive The four active characters—Capulet, Nurse, Mercutio, and Romeo—contrast with the three passive characters: Juliet, Benvolio, and Mercutio A clear trend emerges, where active characters tend to use interruptions more frequently than overlaps, while passive characters favor overlaps, which often serve as conciliatory transitions This tendency indicates that overlaps, characterized by moderate contradictions, typically lead to interruptions, marking a shift in dialogue dynamics The distinct language used by these characters reflects their personalities, shaped by their cultural backgrounds, contexts, and social hierarchies.
Table 3 shows the purposes of turn-taking irregularity of 14 characters in the
No Character Types of turn-taking irregularities
Purposes of turn-taking irregularities Number of irregulari ty
Inter Ruptio n overlap Reasons for overlap
Table 3 shows the purposes of turn-taking irregularity of 14 characters in the
The analysis of the statistics in Table 3 reveals two distinct types of characters in discourse: active and passive Active characters are characterized by their frequent use of interruptions, while passive characters tend to favor overlaps over interruptions.
The 4 main characters who are always active in speech and language are Capulet, Nurse, Romeo, and Mercutio
In the Capulet family hierarchy, Capulet serves as the head, and during five instances of irregularities, three involved intrusive interruptions aimed at asserting dominance and expressing disagreement.
It fits when such a villain is a guest
I’ll not endure him.= =He shall be endured
CAPULET What, goodman boy? I say he shall Go to
Am I the master here or you? Go to
You’ll not endure him! God shall mend my soul,
In this dialogue, Mr Capulet interrupts Tybalt to express his disapproval of Tybalt's intentions toward Romeo, highlighting the disruptive nature of their conversation.
NURSE God in heaven bless her!
You are to blame, my lord, to rate her so
CAPULET And why, my Lady Wisdom? Hold your tongue
Good Prudence, smatter with your gossips, go
I speak no treason.CAPULET =O, God ’i’ g’ oden!
CAPULET =Peace, you mumbling fool!
Utter your gravity o’er a gossip’s bowl,
For here we need it not
In this situation, Nurse defends Juliet, she is interrupted two immediately by
Mr and Lady Capulet's dialogue exemplifies an irregularity known as floor-taking interruption, which leads to intrusive disruption in conversation This occurs when the next speaker expresses disagreement with the current speaker at the conclusion of the turn-taking process.
Good father, I beseech you on my knees,=
Hear me with patience but to speak a word
= Hang thee, young baggage, disobedient wretch!
I tell thee what: get thee to church o’ Thursday,
Or never after look me in the face
Speak not; reply not; do not answer me
My fingers itch.—Wife, we scarce thought us blessed
Juliet faces a fierce confrontation with her father, Capulet, as she struggles to win the love of her desired partner Despite his anger over her disobedience, she persistently pleads for his understanding and support.
56 a few more words, and he immediately responds with vulgar words This irregularity is categorized as an foor-taking
Twice he used overlap for the purpose of signalling annoyance and signalling urgency, both purposes of this overlap are negative:
Uncle, this is a Montague, our foe,
A villain that is hither come in spite
To scorn at our solemnity this night
TYBALT //’Tis he, that villain Romeo
CAPULET Content thee, gentle coz Let him alone
He bears him like a portly gentleman,……
Tybalt's intense hatred for Romeo is evident when he encounters him at his uncle's party, leading to his immediate annoyance He seeks permission from Mr Capulet to confront Romeo, but is stopped by his uncle This tension escalates as Tybalt responds to Capulet, further complicating the situation and creating a sense of overlapping recognition.
Enter old Capulet in his gown, and his Wife
CAPULET What noise is this? Give me my long sword, ho!
A crutch, a crutch!// Why call you for a sword?
Old Capulet and Lady Capulet entered to witness the ongoing fight Eager to join the conflict, Old Capulet sought a weapon but was unarmed He commanded Lady Capulet to hand him his sword, but instead, she provided him with a crutch.
57 annoyed old Capulet, who scolded his wife for the delay The dialogue created an urgent overlap very interesting between Lady Capulet and Capulet
The character consistently exhibits a superior attitude, imposing his thoughts on subordinates through his choice of language in letters.
The character Nurse, a character is active but proactive in neutrality, expressed through irregularities This character has used 3 interruptions, then there are 2 cooperative interruptions for the purpose of assistance:
More light and light, more dark and dark our woes.=
NURSE Your lady mother is coming to your chamber
The day is broke; be wary; look about JULIET
Then, window, let day in, and let life out
In a private room, Romeo and Juliet engage in a conversation until Nurse interrupts by calling out Juliet responds to the Nurse's call, indicating that the interruption is cooperative, as it leads to the next speaker in the dialogue.
Three words, dear Romeo, and good night indeed
If that thy bent of love be honorable,
Thy purpose marriage, send me word tomorrow,
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.=
I come anon.—But if thou meanest not well,=
JULIET By and by, I come.—
To cease thy strife and leave me to my grief
In this conversation, Nurse calls Juliet while she is warm beside Romeo, the call wakes her up, and interrupts passionate minutes with her beloved This creates cooperative interruption
A time of intrusive interruption for the purpose of floor-taking:
LADY CAPULET What say you? Can you love the gentleman?
This night you shall behold him at our feast
That book in many’s eyes doth share the glory That in gold clasps locks in the golden story
So shall you share all that he doth possess
By having him, making yourself no less.=
=No less? Nay, bigger Women grow by men
Speak briefly Can you like of Paris’ love?
In the scene where Lady Capulet introduces Paris to Juliet, the Nurse interrupts despite knowing Lady Capulet hasn't finished speaking However, Lady Capulet quickly resumes her conversation, continuing to describe Paris to Juliet.
The two overlaps with the nature of words to urge to help their owners overcome adversity:
Now, by my maidenhead at twelve year old,
I bade her come.—What, lamb! What, ladybird!
God forbid Where’s this girl?// What, Juliet!
Madam, I am here What is your will?
In Capulet's house, Lady Capulet instructed Nurse to summon Juliet for a discussion about marriage When Nurse called for Juliet, she quickly replied, raising a question that led Nurse to investigate the issue further This interaction resulted in a progressive overlap in their conversation.
Come hither, nurse What is yond gentleman?//
//The son and heir of old Tiberio
What’s he that now is going out of door?//
//Marry, that, I think, be young Petruchio
JULIET What’s he that follows here, that would not dance?
After the party concludes and the guests depart, Juliet turns to Nurse to inquire about the young man she conversed with during the event Her questions lead Nurse to provide answers, resulting in a series of overlapping transitions in their dialogue.
As for Romeo, he was also an active but neutral character in his behaviour which was reflected in the number of irregularities he used
There are 3 times using interruptions, 1 time is a cooperative interruption for the purpose of clarification, and 2 times intrusive interruptions for the purpose of disagreeableness and floor-taking:
MERCUTIO Tut, dun’s the mouse, the constable’s own word
If thou art dun, we’ll draw thee from the mire—
Or, save your reverence, love—wherein thou stickest
Up to the ears Come, we burn daylight =, ho!
=Nay, that’s not so I mean, sir, in
We waste our lights; in vain, light lights by day
Take our good meaning, for our judgment sits Five times in that ere once in our five wits
Mercutio encourages Romeo to act quickly before the torch extinguishes, employing elaborate language that confuses Romeo This leads to a cooperative interruption, allowing Mercutio to clarify his intentions.
MERCUTIO And to sink in it should you burden love—
Too great oppression for a tender thing.=
Is love a tender thing?= It is too rough, Too rude, too boist’rous, and it pricks like thorn
Summary
In chapter 4, the researcher has discussed the forms and purposes for turn- taking irregularities in ‘Romeo & Juliet’
The study's primary objective is to identify and analyze the forms of rotation violations, specifically interruptions and overlaps, in both plays The analysis reveals that the number of breaks and repetitions in the dialogue is relatively equal, occurring 21 and 20 times, respectively To classify these rotational anomalies, the researchers utilized the approaches of Zimmerman and West (1975), Jefferson (1983), and Murata (1994) during the literature review.
The study examines the causes of turn-taking irregularities in the play 'Romeo & Juliet,' identifying eight key reasons: assistance, clarification, disagreement, floor-taking, topic change, signaling annoyance, signaling urgency, and the desire to correct These findings are based on the theories of renowned experts Murata and Cook, focusing on five reasons for interruptions and three for overlaps.