the meaning and structure of an american short story a systemic functional analysis = cấu trúc và ngữ nghĩa của một truyện ngắn mỹ

Mood Residue Mood Residue THEME Textual Theme Topical Theme Rheme Textual Theme Topical Theme Rheme 5 6 Miss Martha was forty, her bank-book showed a credit of two thousand dollars Tr

Table of contents Declaration

Abstract

Acknowledgments

List of Tables

Abbreviations

PART I: INTRODUCTION 1

1.1 Rationale 1

1.2 Aims and Scope of the Study 1

1.3 Methods of the Study 1

1.4 Data collection 1

1.5 Design of the study……… 2

PART II: DEVELOPMENT CHAPTER 1: THEORETICAL BACKGROUND 3

1.1 Three Metafunctions of Language……… 3

1.2 Context……… 3

1.2.1 What is Context? 3

1.2.2 Three aspects of context……… 3-4 1.3 Clauses and their relations 4

1.3.1 Clause Simplex and Clause Complex 4

1.3.2 Types of Relations between Clauses……… 4

1.3.2.1 Taxis 4

1.3.2.2 Logico – semantic type 4-5 1.4 Three kinds of function of clauses 5

1.4.1 Clause as representation: Transitivity 6

1.4.1.1 Process types and Participants .6

1.4.1.1.1 Material process 6

1.4.1.1.2 Mental process 6

1.4.1.1.3 Relational process 6

1.4.1.1.4 Behavioural process 7

1.4.1.1.5 Verbal process 7

1.4.1.1.6 Existential process 7

1.4.1.2 Circumstances 7

1.4.2 Clause as exchange: Mood 7-8 1.4.3 Clause as message: Theme – Rheme………… 8

1.5 Cohesion 8

1.5.1 Grammatical Cohesion 8

1.5.1.1 Reference……… 8-9 1.5.1.2 Substitution 9

1.5.1.3 Ellipsis 9

1.5.2 Logical Cohesion 10

1.5.2.1 Adversative 10

1.5.2.2 Additive 10

1.5.2.3 Causal 10

1.5.2.4 Temporal 10

1.5.3 Lexical Cohesion 10

1.5.3.1 Reiteration……… 10-11 1.5.3.2 Collocation 11

1.6 Summary 11

CHAPTER 2: THE MEANING AND STRUCTURE OF THE TEXT “WITCHES‟S LOAVES” 12

2.1 The Chosen Text 12

2.2 Clauses and Clause Complex Analysis 132

2.3 The Analysis of the Text in Terms of Transitivity, Mood and Theme…… 12- 28 2.3.1 The Transitivity Pattern of the Text……… 28-29 2.3.2 The Mood Pattern of the Text……… 29

2.3.3 The Thematic Pattern of the Text 29

2.4 The Cohesion of the Text 30

2.4.1 Grammatical Cohesion 30-31

2.4.1.1 Reference……… 31

2.4.1.2 Conjunctive Devices………… 41

2.4.2 Lexical Cohesion……… 41

2.5 Contextual Configuration of the Text……… 43

2.6 Summary 43

PART 3: CONCLUSION 44

1.1 Recapitulation 44

1.2 Contributions 44

1.3 Implications of the study 44

1.4 Suggestions for future research 44

REFERENCES

APPENDICE

List of Appendices

Table 1 Clauses and Clause Complexes Analysis

Table 2 Relations between clauses

Table 3 Transitivity Pattern of the Text

Table 4 Mood Pattern of the Text

Table 5 The Thematic Pattern of the Text

Table 6 The grammatical cohesive devices in the text

Table 7 The analysis of the text in terms of transitivity, mood and theme (cont.)

SFG Systemic Functional Grammar Sub Subject

SUB Substitution SYN Synonym

Phen Phenomenon

PART 1 INTRODUCTION

1.1 Rationale

According to Halliday (1994), the fundamental difference between systemic functional grammar and formal models of grammar is that the former is based on a functional framework It is functional in three closely related senses: in its interpretation

of text, of system, and of the elements of linguistic structures Functional grammar sees language first and foremost as a system of communication and analyzes grammar to discover how it is organized to allow speakers and writers to make any exchange meanings Rather than insisting on a clear distinction between grammatical and ungrammatical forms, the focus is usually on the appropriateness of a form for a particular communicative purpose in a particular context The primary concern is with the

functions of structures and their constituents and with their meanings in context A

grammarian interested in this kind of description is likely to use data from authentic texts

in specific contexts

My reason for choosing to analyse a short story by O‟Henry is first and foremost due

to my strong favourite for American short stories, especially, O.Henry‟s ones Therefore, I would like to have a deep understanding of my beloved short stories, one of which is the short story “Witches‟ loaves” by O‟Henry I myself find that functional grammar with the systemic functional analysis method is a very useful tool and an effective method to help me understand the story further in terms of both meaning and structure

1.2 Aims and Scope of the Study

Within the framework of a minor thesis, the aim of the study is to:

 Examine some basic analytical aspects included by systemic functional linguistics such as experiential, interpersonal and textual ones

 Investigate how these aspects are employed in the short story “The Witches‟ Loaves” by O‟Henry

 Offer some suggestions for teaching and learning

The research question that the present study seeks to answer is: “How is the text expressed in terms of transitivity, mood and theme-rheme?”

This study does not attempt to cover all aspects of functional grammar but some main areas of systemic functional theory and primary concepts such as linguistic system, metafunctions and cohesion The focus is on some issues relating to the analysis of the text

My original writing of the thesis was based on the format and methods employed in the

previous M.A Theses in the same file supervised by Prof Dr Hoang Van Van such as: The meaning and Structure of a Biology text: a systemic functional analysis by Ho Thi Mai (2008); The meaning and structure of a fairy tale story: a systemic functional analysis by Pham Thi Thuy and a research on The meaning and Structure of a Science Fiction Story: a systemic functional analysis Journal of Science (Foreign Languages) by Prof Dr Hoang

Van Van However; according to the comments given by the Board of Examiners, my M.A thesis has been changed in some parts mainly in “Development” and “Appendix” I quite hope that such adjustments are reasonable and satisfactory

1.3 Methods of the Study

The study is undertaken with a view to analyzing the meaning and grammar of a short story The descriptive and analytical methods will be applied as the principal ones The descriptive method is concerned with the description of concepts related to systemic functional grammar The analytical method is resorted to analyze the chosen text The procedures and conventions used in the analysis are based on the framework of

Halliday‟s (1994) An Introduction to Functional Grammar

1.4 Data collection

The text is a short story – a literature text taken from “O‟Henry short stories online”

1.5 Design of the study

The minor thesis is divided into four chapters as following:

- Chapter I – Introduction: Introduces the rational, aims, scope, methods of the study,

data collection and the research design

- Chapter II – Theoretical Background: provides the theoretical background of the

study Its focus is on introducing important concepts in systemic functional linguistics relevant to the topic of the thesis

- Chapter III – The analysis of the short story “Witches‟ Loaves”: focuses on the

meaning and structure of the text

- Chapter IV – The conclusion: summarizes the results of the study and suggests

some implications for teaching and learning English as well as presents the suggestions for further research

PART 2 DEVELOPMENT CHAPTER I THEORETICAL BACKGROUND

1.1 Three Metafunctions of Language

Halliday (1970, 1985) sees the functions of language from the sociological point of view According to him, language has three functions as follows:

 Language is used to organize, understand and express our perceptions of the world

and our own consciousness This function is known as the ideational function The ideational function can be classified into subfunctions: the experiential and the logical The experiential function is largely concerned with content or ideas The

logical function is concerned with the relationship between ideas

 Language is used to enable us to participate in communicative acts with other people,

to take on roles and to express and understand feelings, attitude and judgments This

function is known as the interpersonal function

 Language is used to relate what is said (or written) to the real world and to other linguistic events This involves the use of language to organize the text itself This is

known as the textual function

1.2 Context

1.2.1 What is Context?

From Hymes‟ point of view, (1962), context is a limiter of the range of possible interpretations, and, on the other hand, a supporter of the intended interpretation: “The use of a linguistic form identifies a range of meanings A context can support a range of meaning When a form is used in a context it eliminates the meanings possible to that context other than those the form can signal: the context eliminates from consideration the meanings possible in the form other than those the context can support.”

According to Nguyen Hoa (2000), contexts are the non-linguistic factors that contribute and constrain the interpretation of discourse

1.2.2 Three aspects of the context

Language is a social activity which always takes place in a context The context of situation handles the dimensions of the situation which have a bearing on the language used and is studied under register Register is, traditionally in systemic grammar, studied in terms

of three parameters: field, tenor and mode

- Field of discourse refers to what is happening, to the nature of the social action that is

taking place; what is it that the participants are engaged in, in which the language figures as some essential components?

- Tenor of discourse refers to who is taking part, to the nature of the participants, their

statues and roles; what kind of role relationships of one kind or another, both the types of speech role that they are taking on in the dialogue and the whole cluster of socially significant relationships in which they are involved?

- Mode of discourse refers to what part the language is playing, what is it that the

participants are expecting the language to do for them in that situation: the symbolic organization of the text, the status that it has, and its function in the context, including the channel (is it spoken or written or some combination of the two?) and also the rhetorical mode, what is being achieved by the text in terms of such categories as persuasive, expository, didactic, and the like

( Halliday in Halliday and hasan 1989 : 12)

1.3 Clauses and their relations

1.3.1 Clause Simplex and Clause Complex

According to Halliday, clauses can be divided into clause simplex and clause complex

Clause simplex contains one clause, and clauses combine together to form a Clause Complex A sentence can be interpreted as a clause complex: a Head clause together with

other clauses that modify it The notion of “clause complex” as Halliday (1994:216) states,

“enables us to account in full for the functional organization of sentences” Sentence: constituent of writing Clause complex: constituent of grammar

|| He kicked the ball || ||| When you are alone || call me |||

1.3.2 Types of Relations between Clauses

According to Halliday, the clauses constructing a clause complex are in relation in two

terms: Taxis (Interdependency) and Logical-semantic type

1.3.2.1 Taxis (or Interdependence) relation

Taxis, or interdependency, indicate the logical interdependency between clauses in a clause complex Taxis relationships are either paratactic or hypotactic

Parataxis is “the relation between two like elements of equal status, one initiating

and the other continuing” (Halliday 1994:218) In parataxis, the two elements are

independent, so “we only need to distinguish them by the order in which the speaker has chosen to say them” This is done by using the number 1,2,3 … as in:

|| Jane came into the room,|| and sat down.|||

1 2

Hypotaxis is “the binding of elements of unequal status” (Halliday, 1994:221) The relation of

hypotaxis between a dominant unit and a dependent one is signaled by using an alpha () for the dominant, a beta () for a clause dependent on it, and a gamma () for one dependent on that, and

– Extending + („is added to‟)

– Enhancing x („is multiplied by‟)

Expansion relationship can be either paratactic or hypotactic

*Elaboration: One clause expands another by elaborating on it (or some of portion of it) It

means saying the same thing over again, either by direct repetition, or by rewording, clarifying, or giving an example:

||| I wasn’t surprised ||– it was what I had expected.|||

*Extension: One clause expands another by extending beyond it It means adding something

new, giving an exception on it, or offering an alternative

|||They don’t give any instructions, || nor would it help if they did |||

*Enhancement: One clause expands the meaning of another qualifying it in one of a number of possible ways: by reference to time, place, manner cause or condition

||| When the morning came, || the other shepherds returned from Bethlehem |||

Projection: the secondary clause is instated by the primary one as what somebody said

(locution) or thought (idea) In other words, locutions are projected verbal events and ideas are projected mental events

Projection relationship can be either paratactic or hypotactic

||| He said, || “Stop talking.” |||

1 "2

||| My mother said || that I could go out then |||

 '

1.4 The three kinds of function in clauses

According to Halliday (1994: 34) Actor, Subject, Theme-Rheme each one of the three forms part of a different functional configuration, making up a separate strands in the overall meaning of the clause As a working approximation, we can define these different strands of meaning as following:

(i) The Actor functions in the structure of the CLAUSE AS A

REPRESENTATION A clause has meaning as representation, a construal of

some process in ongoing human experience; the Actor is the active participant in that process It is the element the speaker portrays as the one that does the deed (ii) The Subject functions in the structure of the CLAUSE AS AN EXCHANGE A

clause has meaning as an exchange, a transaction between speaker and listener; the Subject is the warranty of the exchange It is the element the speaker makes responsible for the validity of what he is saying

(iii) The Theme functions in the structure of the CLAUSE AS A MESSAGE A

clause has meaning as a message, a quantum of information; the Theme is the point of departure for the message It is the element the speaker selects for

„grounding‟ what he is going on to say

These three headings- clause as a representation, clause as an exchange, clause as a message- refer to three distinct kinds of meaning that are embodied in the structure of a

clause Each of these three strands of meaning is construed by configuration of certain particular functions Actor, Subject and Theme do not occur as isolates; each occurs in association with other functions from the same strand of meaning Each kind of meanings will be discussed in detail in the following presentation

1.4.1 Clause as representation: Transitivity

According to Halliday (1994: 106) language enables human beings to build a mental picture of reality, to make sense of what goes on around them and inside them Clauses play

a central role, because it embodies a general principle for expressing experience The most powerful impression of experience is that it consists of “going-on” – happening, doing, sensing, meaning and becoming All these goings – on are sorted out in the grammar of the

clause, the grammatical system by which this is achieved is transitivity and accounted for under the heading of process, participant and circumstances

1.4.1.1 Process types and Participants

1.4.1.1.1 Material process

Material process is the process of doing One identification criteria for material

process is that they can be probed by asking: “What did X do?” or “What did X do to Y?” The one that performs the action is called actor The one that is affected by the action is called Goal The one that benefits from the process is called Receiver When a process has one participant, this role is referred to as Actor When a process has two participants, these roles are referred to respectively as Actor and Goal And when it has three participants, these roles are referred to respectively as Actor, Goal and Receiver

E.X:

Actor Process: material Receiver Goal

1.4.1.1.2 Mental process

Mental process is the process of sensing which consists of processes of cognition

(thinking, knowing, understanding, realizing), of affection (loving, hating, adoring, pampering), of perception (hearing, sensing, feeling) and of desideration (wanting, desiring, wishing) In this process we very often talk not about what we are doing, but about what we

think of feel Metal process usually involve two participants referred to respectively as

Senser (one who senses, feels, thinks, and wants) and Phenomenon (one that is sensed, felt,

thought of, and wanted) The Sensor is always a human being

E.X:

Sensor Process: mental Phenomenon 1.4.1.1.3 Relational process

Relational process is the process of being, having and being at It comes under three subtypes: The intensive, the circumstantial, and the possessive Relational process consists of two modes: attributive and identifying When a relational process is in the attributive mode, it

has one participant referred to as Carrier and the quality referred to as Attribute When the

relational process identifies the other, it has two participants referred to respectively in two

pairs of terms such as Identified/Identifier and Token/Value

E.X:

Sarah is wise

Carrier Process: relational Attribute

Identified/Token Process: relational Identifier/Value

1.4.1.1.4 Behavioural process

Behavioural process is the process of physiological and psychological behaviour Halliday describes these processes semantically as a “half way house” between mental and material processes That is, the meanings they realized are midway between materials on the one hand and mental on the other They are in part about action, but it is action that has to be experienced by a conscious being

The majority of Behaviourals have only one participant Behaviourals thus express a form of doing that does not usually extend to other participant This one obligatory

participant is called the Behaver, and is typically a conscious being

E.X:

Behaver Process: behavioural Circumstance

1.4.1.1.5 Verbal process

Verbal process is the process of saying It can contain one participants referred to as

Sayer, two participants referred to respectively as Sayer and Target or Sayer and Verbiage, and even three participants referred respectively as Sayer, Target, and Recipient

E.X:

1.4.1.1.6 Existential process

Existential process is the process of existing, indicating that something or some natural

force exists In this type of process, there is a participant, the Existent and one or two

Circumstances are realized by adverbial groups or prepositional phrases Circumstances are often optional, reflecting their background function in the clause However, in some cases, it may be more or less obligatory to include the circumstances of the clause

According to Halliday (1994: 151) there are nine main types of circumstantial elements: Extent, Location, Manner, Cause, Contingency, Accompaniment, Role, Matter, Angle with their specific categories

1.4.2 Clause as exchange: Mood

Mood: As an exchange of interactive event, a clause can be seen as consisting of two

components: Mood element and Residue The Mood plays a vital role in carrying out the

interpersonal function of the clause as exchange in English

The Mood is the thing by referred to which a proposition can be affirmed It consists of two functional elements: Subject (which is a nominal group) and Finite (part of a verbal group) The Residue is the verbal element in the Mood which has the function of making the

proposition finite and is the remainder of the clause It consists of three functional

components: (i) the Predicator, (ii) the Complement, and (iii) the Adjunct

E.X:

Subject Finite Predicator Complement

1.4.3 Clause as message: Theme - Rheme

The speaker‟s organization of the clause as message is represented though the thematic

structure Relevant to the realization of the system of theme are two elements: Theme and Rheme

Theme: The Theme servers as the point of departure of the message, which in

English coincides with the initial element(s) of the clause

Rheme: The Rheme is the remainder of the message By analyzing the thematic

structure of the clauses in a text we can find out the text‟s mode of development The Theme may be realized by a nominal group, a prepositional phrase, an adverbial group, or even a

clause in a case of predicated theme Theme may be marked or unmarked An unmarked theme is one that is usual or typical, whereas a marked theme is one that is unusual A topical theme is one that is conflated with an experiential element of the clause: it can be Actor/Agent, Goal/Medium or Circumstance A textual theme represents the meaning that is relevant to the

context: both the preceding and the following text (co-text) and the context of situation And an

interpersonal theme represents the interpersonal element with which the speaker or writer acts

on the listener or reader

1.5.1.1.Reference: is a relation between the meaning of a word and its

environment, where the environment can be the text (text reference) or the real world

(situation reference) Reference can be divided into anaphoric, cataphoric, exophoric, personal, demonstrative and comparative reference

Exophoric: referents which refer outside the text

E.g: That must have cost a lot of money

Anaphoric: referents which refer backwards

Eg: The apple on the table was rotten It had been there for days

Cataphoric: referents which refer forwards

E.g: The following dates have been proposed for the forthcoming

election: September 8th, September 15th and October 3rd

Personal reference is reference by means of function in speech situation and through

the category of person

E.X: My parents couldn‟t attend the party They had to travel far on business

Demonstrative reference is a form of verbal pointing by the speaker who identifies

the referent by locating it on the scale of proximity in terms of space and time

E.X: He really wanted to buy a new laptop Unluckily, that laptop was too expensive Comparative reference serves to compare items within a text in terms of identity and

similarity

E.X: This exercise is very difficult The other is quite easy

1.5.1.2 Substitution

Substitution is a process of replacing one item with another within a text Halliday and

Hassan (1976:88) also states that “substitution is the relation between linguistic items, such

as words or phrases and in terms of linguistic level, it is a relation on the lexicogrammatical level, the level of grammar and vocabulary”

E.X.: A: What ice-cream would you like?

B: I would like the pink one

There are there types of substitution: nominal, verbal and clausal substitution

Nominal substitution: is the use of a substitute word to replace the Head of a

corresponding nominal group

E.X: Miss Martha kept a small bakery, the one where you go up three steps

Verbal substitution: is “do” This operates as Head of a verbal group, in the place that

is occupied by the lexical verb

E.X: He hurried to the front door as anyone will

Clausal substitution: is one further type of substitution in which what is presupposed is

not an element within the clause but an entire clause

E.X: A: It will not rain too long

B: You think so?

1.5.1.3 Ellipsis Ellipsis is an omission of certain elements from a sentence or clause and can only be

recovered by referring to an element in the preceding text

E.X: A: I think you are right

B: I am sure I am (right)

Ellipsis can be studied in terms of nominal, verbal and clausal ones

Nominal Ellipsis: When the Thing is omitted, one of the elements in the modifier must

take the role of the head, but the reader can recover the omitted Thing from the presupposition

Wife: I would like to live in the big house

Husband: I prefer living in the comfortable

Verbal Ellipsis: The Mood element is present but the Residue is omitted

A: Can she speak English well?

B: Yes, she can

Clausal Ellipsis: take the presupposing clause as a basic structure where ellipsis occurs

in constituents like the Subject Complement, Predicator, and Adjunct The missing part can

be retrieved from the corresponding presupposed structure in another sentence

A: Have another cup of tea?

B: No, thank you (I won’t have another cup of tea)

1.5.2 Logical Cohesion

1.5.2.1 Additive conjunction

- Structurally coordinate or link when being added to the presupposed item, signaled through:

and, also, additionally

- Negate the presuppose item, signaled through:

nor, not either or, neither nor …

1.5.2.2 Adversative conjunction

- Express the contrary to the expectation

- Signaled through: yet, though, only, but…

1.5.2.3 Temporal conjunction

- Deal with time and sequence

- Link by signaling sequence or time

- Signaled through: then, next

1.5.2.4 Causal conjunction

- Deal with cause and effect, reason and result

- Signaled through: so, thus, therefore, hence, for, for this reason, in this respect…

This is the repetition of lexical item, or the occurrence of a synonym or some kind In most

cases it is accompanied by a reference item, typically the

Eg: Algy met a bear The bear was bulgy

Subtypes: Repetition, Synonymy, Antonymy

Repetition: refers to the same lexical item with the same meaning occurring more than

one in the same discourses The lexical item may be repeated in the same morphological shape

E.X.: Algy met a bear The bear was bulgy

or in derivational variant

E.X.: I strove with none, for none was worth my strife

Synonymy: Lexical cohesion results from the choice of a lexical item that is in some

sense synonymous with a preceding one

Subtypes: Super-ordinate, Meronymy, Hyponymy

Super-ordinate in texts means that the latter is synonymous with the previous one in the

sense of higher level of generality Halliday and Hasan (1976:280) regarded super-ordinate as any item whose meaning includes that of the earlier one

E.X: Four-&-twenty blackbirds, baked in a pie

When the pie was opened, the birds began to sing

Meronymy: part-whole relationship

E.X: A tree: trunk, branch, leaf, etc

Hyponymy: specific- general relationship

E.X: A tree: oak, pine, elm, etc

Antonymy: Lexical items which are opposite in meaning also function with cohesive effect

Resultative: refers to the relation of one item leading to the outcome of another item

E.g kill – die, rain – wet, dark – night

Modificational refers to the relation holding between an item and one of its inherent

qualities E.g run – fast, bright – sun, dark – light

Contextual: house – build, doctor – examine

1.6 Summary

In this chapter, I have reviewed some main concepts which serve as the theoretical framework for the analysis of the text in the following chapter

CHAPTER II THE MEANING AND STRUCTURE

OF THE SHORT STORY “WITCHES‟ LOAVES”

2.1 The chosen Text

“Witches’ Loaves” is a short story by O”Henry It is about Miss Martha‟s – the owner of

a bakery- hidden love and deep sympathy for an architectural draftsman – her customer She dare not express her love and care directly to the man but just hide it in her heart, which in the end turns out to be a serious misunderstanding and spoils the man‟s work for a competition due to “the butter bread”

O Henry was a master of irony Almost all of his short stories dealt with the ironies of life This is also true of the story "Witches Loaves." The title is ironic for two reasons One is that he alludes to Miss Martha using a recipe of "a mysterious compound of quince seeds and borax," which was supposedly for her complexion Yet, he leaves the impression that it is also something that a wise woman, or witch, who might be versed in herbal lore, might do to create a love spell The second, and more ironic use of the title indicates that the man, Blumberger, calling her an "old cat" when she inadvertently ruins his drawings because her romantic fancy of him as a starving artist prompted her to add butter to his stale bread, considers her the equivalent of a witch who put an evil spell on him and destroyed his work

The title of O Henry's painful short story "Witches' Loves" has several meanings, each of which dramatizes a part of the story The first is that at times, "Witches" is a word used as an

invective against someone one is really angry with or toward something one is really angry

about The artist was certainly really angry about what those “witches' loves” did to his

drafting plans The second and third meanings are closely linked You recall that Miss Martha prepared a mysterious brew of quince and borax in the kitchen, and the narrator says

that "Ever so many people use it for the complexion." Upon consulting Practical Druggist and Pharmaceutical Review of Reviews, Volumes 25-28, you find that various quince borax

recipes for bars or loves of creams or soaps are used for beauty treatments In a metaphorical sense, Miss Martha can be said to be brewing up witches' loves with witchly mysterious recipes for purposes of romantic witchery In another metaphor, Miss Martha's beauty treatment loaves and her doctored or bewitched loves of bread are intended as magic potions to capture the affections of the lonely artist who subsists on stale bread or so she thinks

Perhaps O Henry was thinking of another story when he wrote this - the fairy tale of

Hansel and Gretel In folklore, witches often used food to lure people into their traps The witch in Snow White used an apple, the witch in Hansel and Gretel used candy In this story,

the "witch" is Miss Martha Why is she a witch? She thinks she is a kind woman who feels sorry for a starving artist Week after week, she eats rich food but never offers any to her customer She wishes he would notice her, but she tells herself he is too proud She does everything she can to entice him into a conversation with her She hangs up a painting, she wears a fancy dress, she puts goop on her face to make her skin look good Finally, she uses food - she puts butter into the two stale loaves of bread, thinking she is giving her poor starving artist customer a treat Now he will think of her when he eats the stale bread Perhaps he will ask her to tea Alas Her plan backfires He has been buying the bread to use

as an eraser for his drawings He is a draftsman The buttered bread has ruined his drawings

In typical O Henry style, there is a surprise ending The loaves turn from something good into something "witchy"

2.2 Clauses and Clause Complex Analysis

The text consists of 179 clauses which make up 86 clause complexes The clauses in the clause complexes are in both paratactic and hypotactic relation Their semantic relations are mainly of elaboration, extension and enhancement 4 clause complexes (XXIV, XXVI, XXVII and LXXIV) are of quoting and quoted relation characterizing the dialogic portion of the text Hypotactic and paratactic relations combine into the same clause complexes

For clauses and clause complexes and their relations, see appendices 1 and 2

2.3 The Analysis of the Text in Terms of Transitivity, Mood and Theme

Here due to the page limitation of a minor M.A thesis, I just mention one part of the

analysis like a modeling Please see the next part in Appendix 7 at the end of this thesis

the one where

MOOD Subject Fi Pred Compl Adjunct Adjunct Subject Fi Pred Adjunct

(3) (4)

Transitivity Actor Process: Material Actor Process:

Mood Residue Mood Residue

THEME Textual

Theme Topical Theme Rheme Textual Theme Topical Theme Rheme (5) (6)

Miss Martha

was forty, her bank-book showed a credit of two

thousand dollars

Transitivity Carrier Process:

Relational Attribute Identified Relational Process: Identifier

MOOD Subject Fi Pred Complement Subject Fi Pred Complement

Mood Residue Mood Residue

(7)

sympathetic heart

Transitivity Carrier: Possessor Process: Relational Attribute: Possessed

have married whose

chances to do

so

were much inferior to

Miss Martha's

Transitivity Actor Process: Material Carrier Process: Relational Attribute

MOOD Subject Finite Predicator Subject Finite Predicator Complement

Mood Residue Mood Residue

(10) (11)

Two or three times a week

an interest in

Transitivity Cir Actor Process:

Material

Phenomenon Actor Process: Mental

MOOD Subject Fi Pred Complement Subject Fi Pred

Residue Mood Residue Residue Mood Residue

Transitivity Carrier Process:

Relational Attribute Material Process: Goal Process: Material Circ

MOOD Subject Fi Pred Compl Pred Compl Pred Adjunct

Mood Residue Theme Theme

(15)

Transitivity Sayer Process: Verbal Verbiage Circumstance

MOOD Subject Finite Predicator Complement Adjunct

Mood Residue

THEME Theme Rheme

(16) His

Transitivity Carrier Process:

Relational Attribute Process: Relational Attribute: Possessed

Transitivity Actor Circumstance Process: Material Benificiary

MOOD Subject Adjunct Finite Predicator Complement

(20) (21)

Fresh bread was five cents a loaf Stale ones were two for five

Transitivity Carrier Process:

Relational

Relational

Attribute

MOOD Subject Fi Pred Subject Subject Fi Pred Complement

(22)

bread

Transitivity Circumstance Process: - Sayer - Verbal Verbiage

Transitivity Circumstance Senser Process: Mental Phenomenon Circumstance

MOOD Adjunct Subject Finite Predicator Complement Adjunct

(24) (25)

very poor

Transitivity Carrier Process:

Relational

Relational

Attribute

MOOD Subject Fi Pred Compl Adjunct Subject Fi Pred Complement

Theme

(26) (27)

garret, where he painted pictures

Transitivity Circ Actor Process:

Material

Material

Goal

MOOD Adjunct Subject Fi Pred Adjunct Subject Fi Pred Complement

THEME Interpersonal

Theme

Topical Theme

(28) (29) (30)

bread and thought of good the

things

to eat in Miss

Martha's bakery

MOOD Fi Pred Compl Fi Pred Compl Predicator

she would sigh,

Transitivity Circumstance Actor Process:

Material

Circumstance Behaver Process:

Behavioural

MOOD Subject Fi Pred Adjunct Subject Fi Pred

might share

her tasty meal

Fi Pred Subject Fi Pred Compl Adjunct Pred Compl Adjunct

one

Transitivity Carrier Receiver Process: Verbal Process:

(38)

In order to test her theory as to his occupation,

room

one day

a painting

Transitivity Circumstance Actor Process: Material Circumstance Goal

MOOD Adjunct Subject Finite Predicator Adjunct Complement

Residue Mood Residue

(39) (40)

bought at a sale and set it against the shelves

behind the bread counter

Transitivity Goal Actor Process:

Material

Material

Beneficiary

Cir

MOOD Comp Subject Fi Pred Adjunct Fi Pred Comp Adjunct

Residue Mood Residue Mood Residue

Theme

Rheme (41)

Mood Residue

(42) (43)

A splendid marble palazzio

stood in the

foreground or rather forewater

Transitivity Existent Process:

Existential

Verbal

Circumstance

MOOD Subject Fi Pred Adjunct Subject Fi Pred Adjunct

Mood Residue Mood Residue

Theme

Rheme (44) (45)

For the rest there were clouds, sky, and gondolas,

chiaro-oscuro in plenty

with the lady

trailing her hand in the

MOOD Adjunct Subject Fi Pred Complement Adjct Pred Compl Adjct

Transitivity Senser Process:

Mental

Phenomenon Circ Actor Process: Material

MOOD Subject Fi Pred Compl Adjunct Subject Finite Predicator

(48) (49)

"You haf (have) here a fine bicture, madame," ,he said

Verbal Carrier:

Processer

Possessor Relational

Circ Attribute:

Possessed

(50)

MOOD Subject Finite Predicator Complement

Residue Mood Residue

Mental

Phen

MOOD Complement Sub Fi Pred Compl Adjct Compl Subject Fi Pred

THEME Theme Rheme Textual

Theme

Topical Theme

(56) (57)

picture?"

Mental

Carrier Process: Relational Attribute

MOOD Subject Finite Predicator Subject Finite Predicator Complement

Mood Residue Mood Residue

(58)

MOOD Subject Finite Predicator Complement

it

Carrier Process: Relational Attribute

MOOD Fi Pred Subject Subject Finite Predicator Complement

Residue Mood Mood Residue

(61) (62) (63)

Transitivity Actor Process:

Fi Pred Adjunct

Theme

Rheme (64) (65)

Martha took the picture back to her room

Transitivity Carrier Process:

Relational Attribute Actor Process: Material Goal Circ

MOOD Sub Fi Pred Subject Subject Fi Pred Compl Adjunct

Mood Residue Mood Residue

shone behind his

spectacles !

What a broad brow

Transitivity Circ Behaver Process:

Behavioural Circ Possessed Attribute: Possessor Carrier: relational Process:

MOOD Adjunct Subject Fi Predi Complement Complement Subject Finite Predicator

(68) (69)

But genius often has to struggle before it is recognized

Transitivity Actor Circ Process: Material Phen Process: Mental

Adjunct Subject Adjunct Fi Pred Adjunct Mood Subject Fi Pred

Mood Residue Mood Residue

THEME Textual

Theme

Topical Theme

Theme

Topical Theme

Rheme (70) (71)

What a thing

a bakery, and a sympathetic heart to

Transitivity Attribute Carrier Process:

across the showcase

Transitivity Circumstance Actor Process:

Material

Sayer Process:

Verbal

Circumstance

MOOD Adjunct Subject Fi Pred Subject Fi Pred Adjunct

Residue Mood Residue Mood Residue

He kept on buying stale bread

Transitivity Senser Process:

Mental

Phenomenon Actor Process: Material Goal

MOOD Subject Fi Pred Subject Subject Finite Predicator Complement

(77) (78)

Transitivity Senser Process: Mental Carrier Process:

Relational

Attribute

MOOD Subject Finite Predicator Subject Finite Predicator Complement

Mood Residue Mood Residue

THEME Theme Rheme Theme Rheme

(79) (80) (81)

Her heart

ached to add

something good

to eat to his

meagre purchase

but her courage

failed at the

act

Transitivity Actor Process:

Material Goal Process: Material Circ Actor Process: Material Circ

MOOD Subject Fi Pred Compl Predicator Adjct Mood

Adjct Subject Fi Pred Compl

Mood Residue Mood Residue

Theme Topical Theme Rheme (82) (83)

She did not dare affront him She knew the pride of artists

Transitivity Senser Process: Mental Phenomenon Senser Process: Mental Phenomenon

MOOD Subject Finite Predicator Complement Subject Finite Predicator Complement

Mood Residue Mood Residue

(84) Miss Martha took to wearing her blue-dotted

silk waist behind the counter

MOOD Subject Finite Predicator Complement Adjunct

Mood Residue

(85)

quince seeds and borax

Transitivity Circumstance Actor Process: Material Goal

MOOD Adjunct Subject Finite Predicator Complement

Residue Mood Residue

(86)

Transitivity Circumstance Actor Process: Material Goal Circumstance

MOOD Adjunct Subject Finite Predicator Complement Adjunct

Residue Mood Residue

(87) (88) (89)

One

day

the customer

and called for his stale

MOOD Adjct Subject Fi Pred Adju

-nct Fi Pred Goal Adjunct Fi Pred Compl

Theme Rheme

Here I want to emphasize that in the view of systemic functional analysis, we can understand the meaning of the story more deeply which we can‟t do with traditional grammar Now, I would like to take some examples from the story to prove that

(15)

Transitivity Sayer Process: Verbal Verbiage Circumstance

MOOD Subject Finite Predicator Complement Adjunct

Mood Residue

In this clause, if we take the traditional grammar analyzing method to look into it we just see

it in one aspect as following:

He spoke English with a strong German accent

Adjunct

Subject Fi Pred Complement Mood

Adjunct

Fi Pred Complement

Mood Residue Mood Residue

THEME Textual

Theme

Topical Theme

“Carrier” but in clause 18, with the verb “had”, the same subject “he” functions as a

Transitivity Circumstance Senser Process: Mental Phenomenon Circumstance

MOOD Adjunct Subject Finite Predicator Complement Adjunct

Looking at the process of this clause, we see that there is an inner experience happening inside the senser‟s mind or the main character‟s – Miss Martha‟s This action doesn‟t affect anything or anybody in the external world as it is the process of the character‟s consciousness The process tells us that this action contains the character‟s mental factor

(98) With a bread

knife

Miss Martha made a deep slash in each of the

stale loaves,

Transitivity Circumstance Actor Process: Material Goal Circumstance

MOOD Adjunct Subject Finite Predicator Complement Adjunct

In this situation, if we apply the traditional method to look into the clause as following:

With a bread knife Miss Martha made a deep slash in each of the stale loaves,

Adv S V O Adv

then we see no differences between the above clause and the following clause:

Miss Martha made a deep slash in each of the stale loaves with a bread knife

S V O Adv Adv

The matter here is the difference in the themes of the two clauses In the former clause, looking at the theme organization we understand that the information focused here is the medium the character uses to perform the action; meanwhile in the later one the thematic structure lets us know that the actor herself is the centre of focus With the two different ways

of organizing the theme, the author can draw the readers‟ attention towards different new

information So it can be said that thanks to the analysis in terms of theme, we see the difference and understand why the author chooses this way or that way of organizing the text

(93)

Transitivity Behaver Process: Behavioural Circumstance

In this clause, if we don‟t think carefully we may misunderstand that the verb “hurried” here are just simply the action in the outer world of “the customer” However, looking at the process we know that there is a physiological and psychological behaviour happening inside the customer‟s mind and his action is what he does to express what he thinks inside Therefore, the subject here is not the actor or senser only but the behaver

(137)

MOOD Subject Finite Predicator Complement Adjunct

Mood Residue

The phrasal verb in the clause may cause difficulties to the readers to understand the meaning It will be much easier if we look at the two aspects: Transitivity and Mood at the same time The transitivity pattern tells that it is a material process The first part of the phrasal verb “tried” is Finite expressing modality and the second part “to draw” is lexical verb is predicator expressing the meaning of a process of doing

2.3.1 The Transitivity pattern of the text

According to Halliday “Language enables human beings to build a mental picture of reality, to make sense of what goes on around them and inside them.” Here, the clause plays

a central role, because it embodies a general principle for modeling experience – namely, the principle that reality is made up of PROCESSES We can clearly see this principle underlining in the story through the analysis of the text in terms of transitivity The author uses language to build a picture of what are happening in the readers‟ mind We readers understand that the text is about the love and deep sympathy of the Bakery‟s owner – Miss

Martha Meacham for Mr Blumberger - an architectural draftsman whom she thinks to be a poor artist Unluckily, Miss Martha‟s love and deep sympathy with her butter bread turns out

to be a terribly bad misunderstanding, which destroys Mr Blumberger‟s work for a competition which he has been working hard on for months Through the analysis of the text‟s transitivity pattern, the readers have a deeper and more detailed of the story‟s content With the realization of material and mental processes used in the story, we see the difference between the inner and outer experience of the characters in the story: between what the characters experience as going on “out there” in the world around them and what they experience as going on inside themselves, in the world of consciousness and imagination The prototypical form of the “outer” experience is that of actions and events: things happen, and people or the characters in the story do things or make them happen The “inner” experience is partly a kind of replay of the outer, recording it, reacting to it, reflecting on it, and partly a separate awareness of the character‟s state of being When material process is used we see that it is the characters‟ outer experience, the processes of external world, which means that something is happening or the characters are acting on something And when we see mental process we understand that is the process of consciousness or the characters are sensing On the borderline between the relational and material are the behavioural processes: those that represent outer manifestation of inner workings, the acting out of processes of consciousness and physiological states It expresses the characters‟ physiological and psychological behaviours Also, the relational process used in the story lets us see, as its term suggests, the relation between two separate entities Verbal processes are mainly used in the dialog portion of the story and some processes are existential ones which represent that something exists or happens in the context of the story

The content of the text is well represented in the experiential component of meaning From the point of view of transitivity, of the 179 clauses, 82 clauses are of material process

(go up in 2; tinkles in 3; open in 4; have married in 8; came in in 10, 47, 87; began to take in 11; wearing in 13; trimmed in 14;bought in 19; lived in 26; painted in 27; ate in 28, 121; to eat in 30; sat down in 31; might share in 34; eating in 35; brought in 39; had bought in 40, set in 41; trailing in 45; was wrapping in 50; took in 61, 65; has to struggle in 68; were backed in 71; came in 73; kept on buying in 76; ached to add in 79; to eat in 80; failed in 81; took to wearing in 84; cooked in 85; use in 86; laid in 88; 147; was reaching in 90; came lumbering in 92; to look in 94; seized in 95; had left in 97; made in 98, 141; inserted in 99; pressed in 100; turned in 101; was tying in 102; had gone in 103; would lay down in 112; was painting in 114; would prepare in 116; would slice in 117; placed in 120; jangled in 122;

was coming in in 123; making in 124; smoking in 128; clinched in 134; shook in 135; tried to draw away in 137; vill (will) not go in 138; haf shpoilt (have spoilt) in 142; leaned in 147; took in 149; come in 150; dragged in 153; came back in 154; work in 161; has been working

in 162; drawing in 163; finished inking in 165; makes in 167; is done in 168; rubs out in 169; has been buying in 171; went in 175; took off in 176; put on in 177; used to wear in 178; poured in 179) These are mainly used to describe Miss Martha‟s and Mr Blumberger actions 41 clauses are of relational process (Kept in 1; was in 5,12, 20, 24, 25, 36, 41, 108,

115, 127, 130, 131, 132, 133; showed in 6; possessed in 7; were in 9, 16, 21, 44, 72, 126,

144, 146;look in 17; had in 18, 67; haf (have) in 48; is not in 58, 60, 173, 174; must be in 64; would be in 70; began to look in 78 Had… been in 105; is in 57,158, 159,160) describing the

state of being of the things and characteristics of the two main characters: Miss Martha and

Mr Blumberger 23 clauses are of mental process (began to take an interest in 11; saw in 23; thought of in 29; wish in 33; could fail to notice in 46; reveling in 52; do so admire in 53; think in 56; is recognized in 69; seemed to crave in 75; thought in 77; did not dare affront

in 82; knew in 83; to look in 94; take offense in 106; dwelt in 109; imagined in 110; should discover in 111; Would think of in 119; had never seen in 129; guess in 155; know in

166,172) characterizing the perception, cognition and desideration of the characters 6

clauses are of existential process (stood in 42; was in 44, 91, 96,107; would stand in 113) positing that things are in existence 9 clauses are of behavioral process (would sigh in 32; bowed in 62; hurried out in 63; shone in 66; hurried in 93, 125; smiled in 104; blushed in 118; cried in 143) describing Miss Martha‟s and Mr.Blumberger physiological and psychological behaviors Finally, 19 clauses are of verbal process (Spoke in 15; call for in 22, 89; have been told in 37; said in 43, 49, 59, 139, 151, 157; says in 51; would not do to say in 54; substituted in 55; would chat in 74; shouted in 136; shall told in 140; vill (will) tell in 145; have said in 152; ought to be told in 156) characterizing the dialogic portion of the text

The result found is understandable as it helps serve the meaning of the story and the purpose of the author This is a very short story so word choice must be very selective to help the author convey the meaning of the story corresponding to the length of the text And we know that “Actions speak louder than words”; therefore, maybe the material process is used the most to express the meaning in the shortest but most sufficient way, which is true to most other narrative short stories by O.Henry On the other hand, the most unpredictable and surprising detail of the story, which can be seen as the climax of it, is the misunderstanding causing the disillusion of the main character coming out not until the end of the story What causes the misunderstanding is partly because the main characters don‟t use words to express

their feelings and thoughts but just actions Miss Martha uses actions to show her love and sympathy towards the man – her customer This meaning partly explains why the material process is predominant in the story

Most of the processes are in the simple past tense (120/179) They are used in narrative portion The past perfect (4/179), past continuous (5/179), present simple (28/179), present perfect (4/179), present perfect continuous (2/179) and future simple (4/179) are used in the dialogic portion, characterizing the actions which occurred, had occurred, were occurring, occur, have occurred, and will occur at the moment of the character‟s speaking Most of the processes are in the past tense They are mainly used in narrative portion 9 clauses are non-finite ones and 2 clauses are in imperative mood

The circumstance components in the clauses of the text are:

a Location:

- Place: on the corner, in places, in others, on his fingers, in that draughty attic, in a garret, in

Miss Martha's bakery, at a sale, against the shelves behind the bread counter, in the foreground or rather forewater, in the water, on the picture, here, behind his spectacles, across the showcase, at the act, behind the counter, in the back room, on the showcase, on the bottom shelf behind the counter, in each of the stale loaves, on the subject, in which, there, on the back of his head, against the shelves, on her blue-dotted silk waist, by the collar, at the door, here, for the rest

- Time: one day, after an unusually pleasant little chat, that day, before, then, yesterday, today, first, now

- Direction: to her chops and light rolls and jam and tea, from her room, back to her room,

past, to the door, around them, to herself, into a loaf, to the front, at Miss Martha, away, out, to the sidewalk, into the back room, out of the window into the ash can

b Extent:

- Distance: three steps

- Duration: for a while, for a long time, for three months

- Frequency: two or three times a week, always, never, often, as usual , ever, once more, again

c Manner:

- Means: with a strong German accent; by two thousand dollars in bank, a bakery, and a

sympathetic heart to; instead of; with a bread knife; of dry bread and water; of Miss Martha's counter; in pencil; with handfuls of stale bread crumbs

- Quality: no doubt, thus early, how gentle and kindly, suddenly inspired, without a slight fluttering of the heart, viciously, wildly, ferociously, with extreme loudness, angrily, weakly, enough, hard

- Comparison: than Indian rubber

d Cause:

- Purpose: in order to test her theory as to his occupation, for the complexion, for them, for

his luncheon, for anything, except to cut up into railroad

- Behalf: for art and perspective

e Accompaniment: with the lady, with him

The transitivity pattern of the text is represented in Table 3 (See Appendix 3)

2.3.2 The Mood pattern of the text

The “Who is taking part?” of the text is presented in its mood pattern In terms of speech function, we can see two role relationships: one is between the writer and the readers and the other is among the characters Most of the finite elements in the text are combined with the past and present simple tense There are some modal elements used in the text 20 clauses

contain modality (would sigh in 32; might share in 34; could fail to notice in 46; would not do

to say in 54; must be in 64; has to struggle in 68; would be in 70; would chat in 74; Would… take offense in 106; should discover in 111; would lay down in 112; would stand in 113; would prepare in 116; would slice in 117; Would think in 119; vill (will) not go in 138; shall told in 140; vill (will) tell in 145; ought to be told in 156) Most of the clauses are in the declarative mood which is one of the typical features of a narrative text Three clauses are in interrogative mood (clauses 105, 106, 119) Two clauses are in imperative mood (clauses 150, 155) The mood

pattern of the text is represented in Table 4 See Appendix 4

When I first read Witches' Loaves, I was so stunned by the ending that I had to read the entire story again This is such a sweet story, and the characters portrayed are so vivid they appear clearly in the reader's mind O Henry was very good at writing dialogues from people with an accent This story is a good example of his character development skills and definitely a great example of his twist endings

2.3.3 The Thematic pattern of the text

The analysis shows that most of the themes in the text belong to the plane of ideational component (that is, topical theme) Of 163 clauses and clause complexes analyzed for theme,

124 have unmarked theme and 39 have marked theme (2, 10, 11, 22, 23, 27, 30, 31, 35, 38,

39, 43, 44, 45, 47, 51, 52, 59, 70, 73, 85, 86, 87, 94, 95, 96, 97, 98, 109, 113, 115, 124, 128,

129, 13, 14, 136, 163, 166) whose themes are marked Of the 29 marked themes, 4 are in

dialogic portion (51, 59, 136, 166) expressing the logical relations of addition and enhancement 27 clause complexes contain textual theme (I, II, VIII, XIV, XV, XVI, XVII, XVIII, XXIV, XXVIII, XXXIII, XXXIV, XXXV, XL, XLVI, XLVII, LI, LII, LIII, LIX, LXV, LXXIII, LXXIX, LXXXII, LXXXIII, LXXXV, LXXXVI) What is interesting is that although there are dialog portions in the text, there is only one interpersonal theme in the text that is “No doubt” in clause 26, which is quite reasonable because it is a short story, the text

is written to be read or told The Theme – Rheme pattern of the text can be presented in

Table 4 See Appendix 5

The very first thing I perceive after reading the work is about the word “surprise” SURPRISE is the word you can never learn in your life There are situations that you are sure that it will happen in this way, but it can still happen in other ways “Surprise” can bring you happiness, but it also can bring you sadness and disappointment If it brings you happiness, it

is very good However, if it brings you sadness or disappointment, it is important to you to draw out lessons from such situations In the story, Martha was very sad She had actions of a person who give up all happiness and hope Maybe she will never dare to help any more However, from her situation, I learn 2 lessons

HELP: First, we just help someone when we make for sure that he needs our help Moreover,

we should help him in right time and right way so that our kindness will not unintentionally harm him

JUDGEMENT: Secondly, we should not base on one‟s appearance to judge him since it does not show us his true nature If yes, it just reflexes a very small part of his nature In our daily life, we meet many different kinds of people, so we should not let their appearance cheat us

We can call it “halo effect” It means that his appearance is so bright that we are influenced

by it and we cannot see his true characteristics For example, when we see someone who wears luxurious clothes and expensive jewelries and drives expensive car, we can immediately fancy that he is very rich Be careful! You may be cheated Why don‟t you think those things do not belong to him, but some person and he just borrow that person? In fact,

he is very poor

2.4 The Cohesion of the Text

2.4.1 Grammatical Cohesion

According to Halliday and Hasan (1976), there are four main types of grammatical cohesive devices: reference, ellipsis, substitution, and conjunction Conjunction can be found in many clauses They are analyzed in different categories such as addictive, adversative, causal and temporal The analysis of the grammatical cohesive devices of the text is based on the Frameworks of Halliday (1994), Halliday and Hasan(1976) The focus is mainly on the different types of reference such as anaphoric, cataphoric, exophoric, personal reference and demonstrative reference and different types of conjunction

2.4.1.1 Reference

The table in Appendix 6 presents a detailed account of all grammatical cohesive devices found in the text The first column shows the cohesive devices, the second contains interpretative sources, the third gives the status of the ties and the last presents the chain

relation See Appendix 6

The Grammatical cohesive devices of the text can be displayed as follows:

Miss Martha Meacham kept the little bakery on the corner (the one where you go up three steps, and the bell tinkles

R:D R:D R:D R:D

when you open the door) Miss Martha was forty, her bank-book showed a credit of two thousand dollars, and she

R:D R:P R:P

possessed two false teeth and a sympathetic heart Many people have married whose chances to do so were much inferior to

Miss Martha's Two or three times a week a customer came in in whom she began to take an interest He was a middle-aged

blease "You haf here a fine bicture, madame," he said while she was wrapping up the bread "Yes?" says Miss Martha,

it is recognized What a thing it would be for art and perspective if genius were backed by two thousand dollars in bank, a

bakery, and a sympathetic heart to – But these were day-dreams, Miss Martha Often now when he came he would chat for a

once more she was tying the paper around them When he had gone, after an unusually pleasant little chat, Miss Martha

and palette There would stand his easel with the picture he was painting in which the perspective was beyond criticism He

the door to the sidewalk, and then came back "Guess you ought to be told, ma'am," he said, "what the row is about That's

went into the back room She took off the blue-dotted silk waist and put on the old brown serge she used to wear Then

 Additive : and in clauses: 3, 7, 18, 28, 29, 33, 40, 63, 89, 92, 100, 135, 148, 154, 171, 177

 Adversative: but in clauses: 17,68,72,81

 Temporal: then in clauses: 154,179

when: in clauses: 4, 101, 103, 111, 168

as : in clause: 121 while: in clause: 50 before: in clause: 69

2.4.2 Lexical cohesion

The lexical cohesion analysis focuses on such lexical cohesive tie as repetition, substitution,

ellipsis, antonym, meronym, synonym, super-ordinate hyponym, and collocation

Lexical relations

Miss Martha Meacham kept the little bakery on the corner (the one where you go up three steps, and the bell tinkles when

REP COL SUB MER

you open the door) Miss Martha was forty, her bank-book showed a credit of two thousand dollars, and she possessed two

MER REP COL

false teeth and a sympathetic heart Many people have married whose chances to do so were much inferior to Miss Martha's

REP REP

Two or three times a week a customer came in in whom she began to take an interest He was a middle-aged man, wearing

COL

spectacles and a brown beard trimmed to a careful point He spoke English with a strong German accent His clothes were

worn and darned in places, and wrinkled and baggy in others But he looked neat, and had very good manners He always

SYN SYN SYN SYN

bought two loaves of stale bread Fresh bread was five cents a loaf Stale ones were two for five Never did he call for

REP ANT ANT

anything but stale bread Once Miss Martha saw a red and brown stain on his fingers She was sure then that he was an

REP MER

artist and very poor No doubt he lived in a garret, where he painted pictures and ate stale bread and thought of the good

MER SYN MER MER REP

things to eat in Miss Martha's bakery Often when Miss Martha sat down to her chops and light rolls and jam and tea she

REP REP MER MER MER MER

would sigh, and wish that the gentle-mannered artist might share her tasty meal instead of eating his dry crust in that

or rather forewater For the rest there were gondolas (with the lady trailing her hand in the water), clouds, sky, and chiaro-oscuro

in plenty No artist could fail to notice it Two days afterward the customer came in "Two loafs of stale bread, if you blease

REP REP REP

"You haf here a fine bicture, madame," he said while she was wrapping up the bread "Yes?" says Miss Martha, reveling in

REP REP REP

her own cunning "I do so admire art and" (no, it would not do to say "artists" thus early) "and paintings," she substituted

MER MER MER

"You think it is a good picture?" "Der balance," said the customer, is not in good drawing Der bairspective of it is not

REP SYN REP SYN