82

CHAPTER V

CONCLUSION

In this chapter, the writer would like to conclude the result of the analysis

done in the previous chapter that is from Anton Chekov’s The Proposal, Henrik

Ibsen’s Hedda Gabler and Alice Childress’ The World on a Hill may be

concluded with the following points.

First, in the study the writer finds the politeness expressions can be

identified by sentence form, they are: (1) Declarative form which uses by all types

of politeness expressions, (2) Interrogative form is also used by all types of

politeness expression in their conversation, (3) Imperative form is only found in

Negative Politeness, (4) Exclamatives form is found Bald on Record, Positive

Politeness and Off Record, and (5) Declarative and Interrogative form are used in

Positive Politeness in coincidence.

Second, the writer finds identification of the politeness expression based

on the strategies and speech acts: (1) Bald on Record strategy involve 28 data,

they are 17 data are assertive, 2 data are verdictive, 7 data are directive and 1 data

is commissive. (2) Positive Politeness involve 49 data, they are 16 data are

assertive, 16 data are directive, 5 data are commissive, 4 data are phatic, and 8

data are assertive-interrogative (3) Negative Politeness Strategy involve 30 data,

they are 13 data are assertive, 3 data are directive, 4 data are commissive and 10

data are expressive. (4) Off Record Strategy involve 18 data, they are 13 data are

assertive and 5 data are directive.

83

Third, the writer finds the identification of the politeness expression based

on its factors: (1) Payoffs factor in Bald on Record is chosen when a speaker is

actually considering the efficiency, outspokenness and honesty in the utterance

and they realize the advantages of being direct. Positive Politeness considers that

speaker might maintain the hearer’s Positive Face. Negative Politeness considers

that the strategies might minimize the imposition towards the hearer. Last, Off

Record is used not to force the hearer by the FTA. He also minimizes the risk of

being bashful if his intention is rejected or the hearer does not get what he implies.

(2) Circumstances factor, they are social distance and size of imposition. The

social distance is used in all strategy of politeness by both speaker and hearer that

have less and great distance. Less distance indicates they have close relationship

and great distance indicates they have no close relationship and maybe don’t

know each other before. Then the size of imposition is not related by the distance

because the distance is not affecting the size of Imposition.

84

BIBLIOGRAPHY

Bovee, C. L., Arens W. F. 1992. Contemporary Advertising. Boston: Irwin, Inc.

Brown, P. And Levinson, S. 1987. Politeness: Some Universals in Language Usage. Cambridge: Cambridge University Press.

Brown, P. And Levinson, S. 1978. Universals in Language Usage: Politeness Phenomena. In E. Goody (Ed.), Questions and politeness: Strategies in Social Interaction. Cambridge: Cambridge University Press.

Chekhov Anton. 1916. “The Proposal”. This one-act play is reprinted from Plays by Anton Chekhov. Trans. Julius West New York: Charles Scribner’s Sons.

Childress, Alice. 1994. The World on a Hill and Other Plays. Oxford: Oxford University Press

Crystal, D. 1992. The Encyclopedic Dictionary of Language and Languages. Oxford and Cambridge: Blackwell Publishers

Denzin, N. And Lincoln, Y. 2005. The Sage Handbook of Qualitative Research. Thousand Oaks: Sage Publications.

Duhan, Dr. Roshni. 2015. The Relationship between Literature and Society. From http://www.languageinindia.com/april2015/roshiniliteraturesociety1.pdf, September, 23, 2016.

Ibsen, Hendrik. 1980. Hedda Gabler. This play is reprinted from Hedda Gabler Play in Four Acts. www.guttenberg.org, August, 30, 2016.

Kasper, G. 1997. 'Can Pragmatic Competence Be Taught?' (Network #6: http:// www.lll. hawaii.edu/ sltcc/F97NewsLetter/Pubs.htm), paper delivered at the 1997 TESOL Convention.

Kreidler, Charles W. 1998. Introducing English Semantics. London: Routledge.Levinson, Stephen C. 1983. Pragmatics. Cambridge: Cambridge University Press.Leech, Geoffrey. 1983. Principles of Pragmatics. New York: Longman Inc.Murliati, Yuni. 2013. Politeness Used by George Milton in John Steinbeck’s Of Mice

and Men. Yogyakarta: Universitas Islam Negeri Sunan Kalijaga.Parker, Frank. 1986. Linguistics for Non-Linguists. London : Taylor & Francis. LtdPiantanida, M. & Garman, N. B. 1999. The Qualitative Dissertation: a Guide for

Students and Faculty. London: Sage.Quirk, R., Greenbaum, S. 1990. A Student’s Grammar of the English Language.

Harlow: Longman, Ltd.Searle, John. 1979. Expression and Meaning: Studies in the Theory of Speech Acts.

Berkeley: University of California.

Thomas, Jenny. 1995. Meaning in Interaction: An Introduction to Pragmatics. London and New York: Longman.

Watts, Richard J .2003. Keys Topic in Sociolinguistics: Politeness. Cambridge:

85

Cambridge University Press.Yani, Dewi. 2014. The Analysis of Face Threatening Act Strategies Used in Oprah

Winfrey’s Interview with Whitney Houston as Guest Star. Jakarta: STBA LIA.

Yule, George. 1996. Pragmatics. Oxford: Oxford University Press.Yule, G. 2006. The Study of Language (3rd Ed). Cambridge: Cambridge University

Press. Internet sources:http://www.glottopedia.org/index.php/Politeness_strategy, 23 September 2016.http://www.ons.gov.uk/ons/guide-method/method-quality/general methodology/ data-

collection-methodology/what-is-qualitative-research-/index.html, 10 October 2016.

86

APPENDIX

NOTE:

1. Form of politeness strategies is underlined and classified in:

a. De = Declarative

b. In = Interrogative

c. Im = Imperative

d. Ex = Exclamative

2. Strategies of politeness:

A. BR = Bald on Record

B. Pos = Positive Politeness:

a. Pos-Not = Notice, attend to hearer (her/his interests, wants, needs, goods, etc.)

b. Pos-Exa = Exaggerate (interest, approval, sympathy with hearer)

c. Pos-Int = Intensify interest to the hearer.

d. Pos-Gro = Use in-group identity markers.

e. Pos-Agr = Seek agreement in safe topics.

f. Pos-Avo = Avoid disagreement.

g. Pos-Asr = Assert/ presuppose knowledge of, concern for hearer’s wants.

h. Pos-Off = Offer, promise.

i. Pos-Opt = Be optimistic.

j. Pos-Giv = Give or ask for reasons.

k. Pos-Gif = Give gifts to H (goods, sympathy, understanding, cooperation).

C. Neg = Negative Politeness:

87

a. Neg-Que = Question, hedge.

b. Neg-Pes = Be pessimistic.

c. Neg-Min = Minimize the imposition.

d. Neg-Apo =Apologize.

e. Neg-Imp = Impersonalize the speaker and the hearer.

f. Neg-FTA = State the FTA as a general rule.

g. Neg-Rec = Go on record as incurring a debt, or as not indebting hearer.

D. OR = Off Record:

a. OR-Hin = Give hints.

b. OR-Pre = Presuppose.

c. OR-Und = Understate.

d. OR-Ovr = Overstate.

e. OR-Met = Use metaphors.

f. OR-Rhe = Use rhetorical question.

g. OR-Gen: Over- generalize.

h. OR-Inc: Be incomplete, use ellipsis.

3. The factor of using politeness:

a. PO = payoff: priori of considerations:

(+) indicated the strategy is appropriate and give the speaker wants.

(-) indicated the strategy might be failed to give the speaker wants.

b. . CI = Circumstances: Sociological Variables:

1. D = Social Distance

D+ indicated great distance

88

D- indicated less distance

2. I = Size of Imposition

I+ indicated great imposition

I- indicated less imposition

Appendix 1

Politeness Expression

Factors Data

CodeText

Form Strategies and Speech ActsPO (+/-)

CI

(+/-)

A-1 BERTA: Well, but there’s another thing, Miss. I’m so mortally afraid

that I shan’t be able to suit the young mistress.

MISS TESMAN: Oh well -- just at the first there may be one or two

things ---

BERTA: Most like she’ll be terrible grand in her ways.

De BR

Asr: Berta make a statement to inform

Miss Tesman about her new mistress.

(+) D-

I-

A-2 MISS TESMAN: I bought it for Hedda’s sake.

TESMAN: For Hedda’s sake? Hm?

MISS TESMAN: So she won’t need to feel ashamed of me if we ever

go out together.

TESMAN [patting her cheek]: If you don’t think of everything,

auntie!

De BR

Asr: Miss Tesman make a statement about

what she believe.

(+) D-

I-

89

A-3 TESMAN: Yes, for I missed them so. [Walks over her] Here -- now

you can see what they’re like, Hedda.

HEDDA [crosses toward stove]: Thanks. I don’t know that I really

care.

TESMAN [following]: Just think -- Aunt Rina embroidered these

slippers for me. Ill as she was. You can’t imagine how many

memories they hold for me!

HEDDA [by the table]: Hardly for me.

De BR

Asr: Hedda makes an assessment for

Tesman which is offering her something

that he concerned.

(+)

D-

I+

A-4 TESMAN: If you could just bring yourself to call her Auntie. For my

sake, Hedda, hm?

HEDDA: No, Tesman, no. You really mustn’t ask me to do that. I

have already told you I can’t. I’ll try to call her Aunt Juliane. That will

have to do.

TESMAN: All right, if you say so. I just thought that now that you’re

in the family.

De BR

Com: Hedda directly refuses to accept

Tesman’s wants.

(+) D-

I+

A-5 HEDDA [staring ahead]: So that sweet little goose has had her hand

in a human destiny. [Looks at him] But that you could be so heartless,

even so!

LOVBORG: Don’t tell me I was heartless!

De BR

Ver: Hedda tells her thought about

Lovborg directly, she tend to accuse

Lovborg uses the fact that Lovborg did. It

(+) D-

I+

90

HEDDA: To ruin everything that’s filled her soul for such a long

time! You don’t call that heartless!

makes him shame, even angry.

A-6 LOVBORG: I don’t need you any more.

MRS. ELVSTED: And you can stand there and tell me a thing like

that! Don’t need me! Why can’t I help you the way I did before?

Aren’t we going to keep on working together?

LOVBORG: I don’t intend to work any more.

De BR

Asr: Lovborg makes a statement and

reason to make Mrs. Elvsted believe that

he won’t work together with her.

(+) D-

I+

B-1LOMOV: Well, you see, it's like this. [Takes his arm] I've come

to you, honoured Stepan Stepanovitch, to trouble you with a

request. Not once or twice have I already had the privilege of applying

to you for help, and you have always, so to speak ... I must ask

your pardon, I am getting excited. I shall drink some water,

honoured Stepan Stepanovitch. [Drinks.]

CHUBUKOV: [Aside] He's come to borrow money! Shan't give him

any! [Aloud]

De BR

Asr: Lomov make an uncomplete request,

it makes Chubukov give a statement that

may be ashamed Lomov.

(+) D-

I-

B-2 LOMOV: [clutches at his heart] Oxen Meadows are mine! You

Understand? Mine!

NATALYA STEPANOVNA: Don't shout! You can shout

De BR

Dir: Natalya feels that Lomov is impolite,

(+) D-

I-

91

yourself hoarse in your own house, but here I must ask you to

restrain yourself!

so she directly commands Lomov not to

shout.

B-3 LOMOV: You see, Honour Stepanitch… I beg pardon, Stepan

Honouritch… I mean, I’m awfully excited, as you will please

notice...In short, you alone can help me, though I don’t deserve it, of

course… and haven’t any right to count on your assistance….

CHUBUKOV: Oh, don’t go round and round it,darling! Spit it out!

Well?

De BR

Dir: Chubukov make both of request and

command for Lomov to said everything

effectively, because he’s not understand

about what Lomov want.

(+) D-

I-

B-4 NATALYA STEPANOVA: Ours! You can go on proving it for two

days on end, you can go an put on fifteen dress-jackets, but I tell you

they’re ours, ours, ours! I don’t want anything of yours and I don’t

want to give up anything of mine. So there!

LOMOV: Natalya Stepanova, I don’t want the Meadows, but I am

acting on principle. If you like, I’ll make you a present of them.

De BR

Asr: Natalya makes a statement that based

on her believe, she wants to convince

Lomov to believe her.

(+) D-

I+

B-5 NATALYA STEPANOVNA: I can make you a present of them

myself, because they’re mine! Your behaviour, Ivan Vassilevitch, is

strange, to say the least! Up to this we have always thought of you as

a good neighbour, a friend: last year we lent you our threshing-

machine, although on that account we had to put off our own

threshing till November, but you behave to us as if we were gipsies.

Giving me my own land, indeed! No, really, that’s not at all

neighbourly! In my opinion, it’s even impudent, if you want to

De BR

Asr: Natalya make a statement about

Lomov’s behaviour, she also give her

reason to convince Lomov.

(+) D-

I+

92

know…

LOMOV: Then you make out that I am a land-grabber? Madam, never

in my life have I grabbed anybody else’s land, and I shan’t allow

anybody to accuse me of having done so...

B-6 CHUBUKOV: You may take it that I know whether I have the right or

not. Because, young man, I’m not used to being spoken to in that tone

of voice, and so on. I, young man, am twice your age, and ask you to

speak to me without agitating yourself, and all that.

LOMOV: No, you just think I’m a fool and want to have me on! You

call my land yours, and then you want me to talk to you calmly and

politely! Good neighbours don’t behave like that, Stepan Stepanitch!

You’re not a good neighbour, you’re grabber!

De BR

Asr: Lomov makes a statement about what

his believe.

.

(+) D-

I+

B-7 LOMOV: Never mind about my people! The Lomovs have all been

honourable people, and not one has ever been tried for embezzlement,

like your grandfather!

CHUBUKOV: You Lomovs have had lunacy in your family, all of

you!

NATALYA STEPANOVNA: All, all, all!

CHUBUKOV: Your grandfather was a drunkard, and your younger

aunt, Nastasya Mihailovna, ran away with an architect, and so on.

LOMOV: And your mother was hump-backed.

De BR

Asr: in here, both Lomov and Chubukov

make statement that they thought was

right.

(+) D-

I-

B-8 NATALYA STEPANOVNA: There’s some demon of contradiction in De BR (+) D-

93

you today, Ivan Vassilevitch. First you pretend that the Meadows are

yours; now, that Guess is better than Squeezer. I don’t like people

who don’t say what they mean, because you know perfectly well that

Squeezer is a hundred times better than your silly Guess. Why do you

want to say it isn’t?

LOMOV: I see, Natalya Stepanovna, that you consider me either blind

or a fool. You must realize that Squeezer is overshot!

Asr: Natalya says that there’s something

wrong from Lomov, in here she explains

everything that she knew and give the

reasons to make Lomov knows that he is

wrong.

I+

C-1 THE WOMAN: Get down before I shake you down.

LIONEL: I’m going to tell my father on you

THE WOMAN (After a split second of silence): Tell him. What do I

care? What can he do to me? Oh, for God’s sake, when will you learn

to obey? There, that’s a good boy. Good boys get good things because

good boy speak gently to their mothers.

De

In

BR

Dir: The Woman commands to her son to

get down from tree. And Lionel replied her

mother with assertive act that make a

statement to makes his mother stop

command him.

(+) D-

I+

C-2 THE WOMAN: One scream, one loud scream and you’ll be caught.

THE BOY: And you’ll be dead. Why don’t you try it?

De BR

Asr: The Woman in here makes a

statement to threaten the Boy in order to

not hurt her.

(+) D+

I+

C-3 THE WOMAN: I don’t want to, believe me, I don’t. Go on about your

business, it’s none of my concern what you’ve done or why they’re

looking for you.

De BR

Asr: In here, the woman says something to

(+) D+

I+

94

THE BOY: Scream, go on and scream. inform the Boy that she’s not care about

him.

C-4 THE BOY: Because you’re afraid, afraid you’ll be mixed in the affair.

perhaps you would have to go to court,.. maybe I belong to a famous

gang and they might “bump you off’.. that’s why you won’t scream.

THE WOMAN: You belong to a famous gang? It’s plain to see you

don’t belong to a famous anything.

De BR

Asr: The Woman give information that her

believe, it make the Boy feels ashamed.

(+) D+

I+

C-5 THE BOY: You don’t look so dressed up to me.

THE WOMAN: But I didn’t say I belong to a famous gang. Shame on

you for telling such tall tales.

THE BOY: I have stole your purse and maybe assaulted you too, after

all.

De BR

Asr: The Woman make a statement about

what her believe, she says it directly and

make the Boy feels ashamed.

(+) D+

I+

C-6 THE WOMAN: Where is the gun now?

THE BOY: Ah..er..ah.. I threw it away.

THE WOMAN: Where?

THE BOY: In the river.

THE WOMAN: What river?

THE BOY: What difference does it make?

THE WOMAN: But there’s no river near here. You’re lying again,

De BR

Asr: in here the Woman makes a statement

about her knowing, she gives the fact and

reason to make convince statement.

(+) D+

I+

C-7 THE BOY: And I hate chopping wood and cleaning yards. That’s

what I do, clean up the yards to help him through school when it’s me

that’s wanting to go. All right, I’m selfish but that’s how I feel!

De. BR

Asr: the Boy makes a statement about

(+) D+

I-

95

THE WOMAN: And I want to speak up in my house, without mincing

words, without feeling like an idiot. I don’t want to be in fear of him,

in fear of saying the wrong thing, in fear of the boy….

himself, and then the woman also makes a

statement about what she is believe.

C-8 THE BOY: Black business is your business but white business is none

of mine.

THE WOMAN: Talking all that nonsense. I’m happy, reasonably so.

THE BOY: You don’t look happy to me. I heard you screaming at

your little boy when I was hiding in the bushes.

THE WOMAN: Hmmm, sassy thing. Yelling at a child is no sign of

happiness or unhappiness.

De BR

Asr: the Boy makes a statement about

what he thought, he also give the reason to

make his statement convince.

(+) D+

I+

A-7 HEDDA: That’s what you get for sneaking in the back door! [Fires.]

BRACK [closer]: Are you out of your mind?

In BR

Ver: Brack seems like accuse Hedda about

what she did.

(+) D-

I-

A-8 HEDDA: I am not sure if I quite remember. Didn’t you first come to

your husband as his housekeeper?

MRS. ELVSTED: I was really hired as governess. But his wife -- his

first wife -- was ailing already then and practically bedridden. So I had

to take charge of the household as well.

HEDDA: But in the end you became his wife.

MRS. ELVSTED [dully]: So I did.

In BR

Dir: Hedda ask something (request) about

Mrs. Elvsted’s husband and in here Mrs.

Elvsted give her information that Hedda’s

need.

(+) D-

I+

96

A-9 HEDDA: But isn’t he altogether too old for you? He is more than

twenty years older, isn’t he?

MRS. ELVSTED: Yes, there is that, too.

In BR

Dir: Hedda’s looking for information from

Mrs. Elvsted about her husband. Hedda

directly asks to Mrs. Elvsted that make she

feels uncomfort.

(+) D-

I-

A-10 HEDDA: How is your husband, Thea? I mean you know really? To be

with. What kind of person is he? Is he good to you?

MRS. ELVSTED [evasively]: I believe he thinks he does everything

for the best.

In BR

Dir: Hedda’s looking for information from

Mrs. Elvsted about her husband. Hedda

directly asks to Mrs. Elvsted that make she

feels uncomfort.

(+) D-

I+

C-9 THE WOMAN: Get down before I shake you down.

LIONEL: I’m going to tell my father on you

THE WOMAN (After a split second of silence): Tell him. What do I

care? What can he do to me? Oh, for God’s sake, when will you learn

to obey? There, that’s a good boy. Good boys get good things because

good boy speak gently to their mothers.

In BR

Dir: The Woman commands to her son to

get down from tree. And Lionel replied her

mother with assertive act that make a

statement to makes his mother stop

command him.

(+) D-

I-

A-10 LOVBORG [with indignation]: Hedda Gabler married? And married

to George Tesman!

HEDDA: Yes! That’s the way it goes.

Ex BR

Asr: Lovborg tells about what he’s

(+) D-

I+

97

LOVBORG: Oh, Hedda, Hedda how could you throw yourself away

like that!

believe. He is sure that Tesman isn’t a

right man for Hedda.

Appendix 2

Politeness Expression

FactorsData

CodeText

Form Strategies and Speech Acts PO

(+/-)

CI

(+/-)

A-1 BRACK: There hasn’t been a day I haven’t wished you were back

again.

HEDDA: My feelings, exactly.

BRACK: Yours? Really, Mrs. Tesman? And I have assuming you

were having such a wonderful time.

De Pos-Exa

Asr: in here Brack makes a statement about

what he knew, but from this conversation

his thought is wrong.

(-) D-

I+

A-2 MRS. ELVSTED: And now I beg you, Mr. Tesman -- won’t you

please receive Eilert Lovborg nicely if he calls on you? And I am sure

he will. After all -- such good friends as you two used to be. And then

you both do the same kind of work -- the same field of study, as far as

I know.

De Pos-Asr

Dir: Mrs. Elvsted asks help to Tesman to

receive Lovborg, in here she also give the

reason why Tesman must help her.

(-) D-

I-

98

TESMAN: We used to, at any rate.

MRS. ELVSTED: Yes. And that’s why I implore you to please,

please, try to keep an eye on him. You’ll do that. Mr. Tesman, won’t

you? Promise?

A-3 HEDDA: All the more reason for getting close again. Listen. In school

we called each other by our first names.

MES. ELVSTED: Oh I’m sure you’re wrong.

HEDDA: I’m sure I’m not! I remember it quite clearly. And now we

want to be open with one another, just the way we used to.

De Pos-Opt

Asr: in here Hedda makes a statement

based on something that she knew, she is

also giving the fact to make convince

statement.

(-) D-

I+

A-4 HEDDA: But what do you think people will say, Thea?

MRS. ELVSTED: In God’s name, let them say whatever they like.

[Sits down on the sofa, dully, tired] For I have only done what I had to

do.

HEDDA [after a brief silence]: And what do you plan to do with

yourself? What sort of work will you do?

MRS. ELVSTED: I don’t know yet. I only know I have to live where

Eilert Lovborg is.

De Pos-Opt

Asr: Mrs. Elvsted makes a statement based

on her experience. She thinks that only her

who understand what is happening, so she

makes that kind of statement.

(-) D-

I-

A-5 HEDDA: For you know, Judge, that was considerably more than my

others admirers were willing to do.

De Pos-Opt (-) D-

I-

99

BRACK [laughs]: Well! Of course I can’t answer for all the others.

But as far as I am concerned, I have always had a certain degree of

respect for the bonds of matrimony. You know as a general

proposition, Mrs. Tesman

HEDDA [lightly]: Well, I never really counted very heavily on you --

Asr: Brack makes a statement based on his

experience to convince Hedda.

A-6 MRS. ELVSTED: Dear God -- how I hope you are right! That he’ll

come back like that.

HEDDA: that is the way he will come. No other way. [She rises and

goes closer to Mrs. Elvsted]. You may doubt as long as you like. I

believe in him and now we’ll see.

De Pos-Opt

Asr: in here Hedda looks so confident

about what she says. She make that

statement because she believe in her friend,

(-) D-

I-

A-7 MRS. ELVSTED: Did you get any sleep at all?

HEDDA: Yes, I slept pretty well, I think. Didn’t you?

MRS. ELVSTED: Not a wink. I just couldn’t, Hedda! It was just

impossible.

HEDDA [rises, walks over to her]: Well, now! There’s nothing to

worry about, for heaven’s sake. I know exactly what’s happened.

De Pos-Opt

Dir: Hedda gives a suggestion to Mrs.

Elvsted based on her believe and

experience, so she is very optimist.

(-) D-

I-

A-8 MRS. ELVSTED: And your husband is bound to be home any minute

now. And I have to know right away.

HEDDA: I’ll let you know as soon as he gets here.

De Pos-Off

Com: Hedda promises to Mrs. Elvsted in

(-) D-

I+

100

MRS. ELVSTED: You promise me that, Hedda?

HEDDA: I do. You just go to sleep.

order to make her a little quiet and not

worry about Lovborg.

A-9 TESMAN: Dearest Hedda, honestly, I just don’t dare to.

HEDDA: Don’t you dare to?

TESMAN: No, for I’m sure you realize how utterly desperate he’ll be

when he wakes up and finds that the manuscript is gone. For he hasn’t

a copy, you know. He said so himself.

De Pos-Exa

Asr: in here Tesman feels guilty to

Lovborg, he knows Lovborg well, so he

makes that statement.

(-) D-

I-

A-10 BRACK [smiles]: George Tesman is really an ingenuous soul, you

know.

HEDDA: He certainly is. But why do you say that? Is there something

more to all this?

BRACK: Yes, there is.

HEDDA: Well! In that case, why don’t we make ourselves

comfortable, Judge. You’ll tell your story better, too.

De Pos-Not

Dir: in here Hedda gives a command for

Brack to make him enjoy the conversation,

because Hedda wants Brack to tell story

that she wants to hear.

(-) D-

I-

A-11 LOVBORG: Yes, I tell you! In a thousand pieces. And scattered them

in the fjord. Far out, where the water is clean and salty. Let them drift

there, with wind and current. Then they’ll sink. Deep, deep down.

Like me, Thea.

MRS. ELVSTED: Do you know, Lovborg, this thing you’ve done to

De Pos-Exa

Asr: in here Lovborg makes a statement

that is showing something like himself.

(-) D-

I-

101

the book -- all the rest of my life I’ll think of it as killing a little child.

A-12 LOVBORG: Yes, I tell you! In a thousand pieces. And scattered them

in the fjord. Far out, where the water is clean and salty. Let them drift

there, with wind and current. Then they’ll sink. Deep, deep down.

Like me, Thea.

MRS. ELVSTED: Do you know, Lovborg, this thing you’ve done to

the book -- all the rest of my life I’ll think of it as killing a little child.

De Pos-Gro

Asr: in here Mrs. Elvsted says something

based on her feeling. She also make a

statement that may be not understood by

others.

(-) D-

I-

A-13 LOVBORG: Good bye, Mrs. Tesman. Give my regards to George

Tesman. [He is about to leave.]

HEDDA: Wait! I want to give you something a remembrance. [Goes

to desk, opens the drawer, takes out the gun case. Returns to Lovborg

with one of the revolvers.]

LOVBORG: The gun? That’s the remembrance?

De Pos-Gif

Pha: both Lovborg and Hedda feel so close

with each other, so he send his regards for

Tesman before he left. Then Hedda also

give remembrance as her gratitude

(-) D-

I+

B-1 CHUBUKOV: My dear fellow, whom do I see! Ivan Vassilevitch! I

am extremely glad! [Squeeze his hand] Now this is a surprise, my

darling...How are you?

LOMOV: Thank you. And how may be getting on?

De Pos-Exa

Pha: Chubukov feels excited about

Lomov’s presence, so he greets Lomov

like that.

(-) D-

I-

B-2 LOMOV: [Excited] You see, honoured Natalya Stepanova...the fact De Pos-Int (-) D-

102

is, I’ve made up my mind to ask you to hear me out...of course you’ll

be surprised and perhaps even angry, but a…[Aside] It’s awfully cold!

NATALYA STEPANOVA: What’s the matter? [Pause] Well?

Dir: Lomov requests the attention of

Natalya, in here he also uses assertive

speech acts by give some explanation.

I-

B-3 NATALYA STEPANOVNA: The Meadows are yours, yes, yours…

Do sit down… [They sit] We were wrong.

LOMOV: I did it on principle… My land is worth little to me, but the

principle…

NATALYA STEPANOVNA: Yes, the principle just so… Now, let’s

talk of something else.

De Pos-Agr

Dir: in here Natalya tends to make a safe

topic by command.

(-) D-

I-

B-4 LOMOV: The more so as I have evidence, My aunt’s grandmother

gave the land to you father’s grandfather’s peasants.

NATALYA STEPANOVNA: Yes, yes, yes, let that pass… [Aside] I

wish I knew how to get him started… [Aloud] Are you going to start

shooting soon?

De Pos-Agr

Dir: in here Natalya does both commands

and requests, she commands Lomov to talk

other else, then she requests an information

about what Lomov does next.

(-) D-

I-

B-5 CHUBUKOV: Excuse me, my precious… You forget just this, that

the peasant didn’t pay your grandmother and all that, because the

Meadows were in dispute, and so on. And now everybody knows

they’re ours. It means that you haven’t seen the plan.

LOMOV: I’ll prove to you that they’re mine!

De Pos-Opt

Asr: Lomov in here make that kind of

statement because he believe that he is

right.

(-) D-

I+

C-1 THE BOY: Don’t move. And don’t scream. De Pos-Off (-) D+

103

THE WOMAN: I won’t. You may have my purse, take it and go.

Take the money and leave, I won’t scream.

THE BOY: I don’t want it.

Com: the Woman offers the Boy to take

her purse because she won’t be hurt.

I+

C-2 THE WOMAN: Yes. Tell me, why do you tell so many lies? Your

tongue should be washed with brown soap.

THE BOY: Lady, I lie because I’m black and you are white.

THE WOMAN: Oh, I see, I understand.

De Pos-Gro

Asr: the Boy makes that statement based

on his experience, he feels there’s no

equality justice between black and white

people.

(-) D+

I-

C-3 THE WOMAN: Why must we lie?

THE BOY: Because.. The truth is almost impossible. The truth

shames me, the truth makes other people laugh at me. The truth is

hurtful.

De Pos-Giv

Asr: the boy makes that statement based on

his feeling, he says truth.

(-) D+

I-

C-4 THE BOY: Native boy makes lady laugh. I’m not here for your

amusement.

THE WOMAN: I won’t laugh, I promise. Tell me some of your

thoughts, what’s important to you, some deep truth.

THE BOY: You will laugh.

THE WOMAN: Try me. Tell some innermost thought.

De Pos-Off

Com: in here the Woman accept the ability

not to laugh of the Boy.

(-) D+

I+

C-5 THE WOMAN: Yes, yes, yes, but life should mean more than that.

THE BOY: Jezz, lady, what do you want? To go in a place like that

De Pos-Exa (-) D+

I+

104

and not sweat about what it’s going to cost! Lady, you got nothing to

dream about! You got too much for real.

Asr: the boy makes that kind of statement

because he never sees that beautiful life, so

he says everything that he thought.

C-6 THE WOMAN: I guess your dreams are more interesting. What else

do you see?

THE BOY: I see myself married to a wonderful, beautiful girl and

she.. Well, she’s crazy about me, mad about me.

De Pos-Opt

Asr: the Boy makes that statement because

in the future he will get a right person for

him.

(-) D+

I-

C-7 THE WOMAN: Let them be angry. After all, you’re angry with

yourself and I’m so mad at me I could vv scream. Let them be as

angry as1 they damn well please. Understand? People need to hear

from us. If they are asleep we’ll wake them up. We’ve got our rights!

Ride on, young man, ride through the storm.

THE BOY: Bravo! Bravo! Hear! Hear!

De Pos-Opt

Asr: the Woman here makes a statement

based on her feeling, she wants to everyone

hear her out.

(-) D+

I-

C-8 THE WOMAN: Let them be angry. After all, you’re angry with

yourself and I’m so mad at me I could scream. Let them be as angry as

they damn well please. Understand? People need to hear from us. If

they are asleep we’ll wake them up. We’ve got our rights! Ride on,

young man, ride through the storm.

THE BOY: Bravo! Bravo! Hear! Hear!

De Pos-Exa

Asr: in here the Woman make that

statement by using parable that describe

the big barrier that may come.

(-) D+

I-

C-9 THE BOY: About the stealing, I woke up this morning and I knew

something had to happen, I had to make a change, not tomorrow or the

De Pos-Opt (-) D+

I-

105

next but today!

THE WOMAN: Carry on! Carry on!

Asr: in here the Boy makes a statement

based on his believe, he is very optimist.

A-14 BRACK: I should have thought of that. That was stupid of me.

HEDDA [turns her head, looks at him]: Why stupid?

BRACK [crossing]: If you had, you wouldn’t have found anybody

home. For I have been in my room ever since lunch, changing my

clothes.

In Pos-Giv

Dir: Hedda responses Brack’s word with

an information request because she doesn’t

understand what Brack’s talking about.

(-) D-

I+

A-15 TESMAN: Don’t you think Aunt Julle acted strange, Hedda? Almost

solemn. I wonder why. Hm?

HEDDA: I hardly know her, you see. Isn’t she often like that?

TESMAN: Not the way she was today.

In Pos-Int

Dir: Tesman feels there’s something

different about Aunt Julle, so he request an

agreement from Hedda about what he

thought.

(-) D-

I+

A-16 MRS. ELVSTED: He has been here a week already. Imagine -- a

whole week! In this dangerous place. Alone! With all that bad

company around.

HEDDA: But my dear Mrs. Elvsted -- why is he a concern of yours?

In Pos-Giv

Dir: Hedda feels curious about relationship

between Mrs. Elvsted and Lovborg, so she

asks information about it to Mrs. Elvsted.

(-) D-

I +

A-17 BRACK: Oh dear, I am sorry. Don’t you remember -- you’re

supposed to come to my little stag dinner tonight? You accepted last

night on the pier, you know?

In Pos-Int

Dir: in here Brack makes a request for

(-) D-

I-

106

HEDDA: Had you forgotten, Tesman? Tesman, he asks Tesman’s acceptance of

his invitation.

A-18 TESMAN [searching among the books]: And look. Here is Eilert

Lovborg’s book, too. [Offers it to her] Want to take a look at it,

Hedda? Hm?

HEDDA: No -- thanks just the same. Or perhaps later.

TESMAN: I glanced it on my way home.

In Pos-Off

Com: Tesman offers Hedda to look at

Lovborg’s new book.

(-) D-

I+

A-19 TESMAN: You see, on the way back I happened to be behind the

others a little. Just for a minute or two -- you know --

HEDDA: All right! Allright!

TESMAN: And when I hurried to catch up with them, can you guess

what I found by the roadside? Hm?

In Pos-Int

Dir: in here Tesman asks Hedda’s attention

to make Hedda hear out about what he

says.

(-) D-

I-

B-6 CHUBUKOV: We just get along somehow, my angel, to your prayers,

and so on. Sit down, please do… Now, you know, you shouldn’t

forget all about your neighbours, my darling. My dear fellow, why are

you so formal in your get up? Evening dress, gloves, and so on. Can

you be going anywhere, my treasure?

LOMOV: No, I’ve come to see you, honoured Stepan Stepanovitch

In Pos-Giv

Dir: in here Chubukov does request, he

wants to know what the reason why

Lomov use unusual clothes.

(-) D-

I-

B-7 CHUBUKOV: Dear one, why yell like that? You won’t prove

anything just by yelling, I don’t want anything of yours, and I don’t

In Pos-Giv (-) D-

I+

107

intend to give up what I have. Why should I? And you know, my

beloved, that if you propose to go on arguing about it, I’d much sooner

give up the meadows to the peasant than to you. There!

LOMOV: I don’t understand! How have you the right to give away

somebody else’s property?

Dir: in here Lomov requests an explanation

to Chubukov about the ownership of Oxen

Meadows.

C-10 LIONEL:You said you were going to shake me out of the tree. If it’s a

picnic, Why didn’t father come? Why did you run out of the house and

leave him? You’d better not shake me out of my trees.

THE WOMAN: You mustn’t worry about your father. Don’t tell him

what I said, you hear?

In Pos-Giv

Dir: Lionel ask information or reason why

his mother run out from the house.

(-) D-

I+

C-11 THE WOMAN: Well, honestly, I do declare,... Why can’t you?

THE BOY: It’s very hard for me to tell the truth.

In Pos-Giv

Dir: in here the Woman ask the Boy to not

lying to her again.

(-) D+

I-

C-12 THE WOMAN: What do you really want to do? What one thing do

you want to do more than any other?

THE BOY: I want to go to school but they won’t let me because I’m

dumb. I am dumb.

THE WOMAN: Don’t say that.

In Pos-Gif

Dir: the Woman feels curious about the

Boy’s life, so she requests the information

to fulfill that curiousness.

(-) D+

I-

A-20 Miss Tesman: [Takes both his hands and looks at him.] What a delight

it is to have you again, as large as life, before my very eyes, George!

Ex Pos-Exa (-) D-

I-

108

My George — my poor brother’s own boy!

TESMAN: And it’s a delight for me, too, to see you again, Aunt Julia!

You, who have been father and mother in one to me!

Pha: in here Miss Tesman makes a

statement to greet and bless George

Tesman.

A-21 HEDDA: Good morning, my dear Mrs. Elvsted. How very nice to see

you again.

MRS. ELVSTED: Well, yes, it is quite some time since we met.

Ex Pos-Exa

Pha: in here Hedda seems excited about

her guest, so she greets Mrs. Elvsted very

well.

(-) D-

I-

A-22 BRACK: No, listen. Won’t you do me the pleasure to join us?

LOVBORG [firmly]: No, I won’t. But thanks all the same.

BRACK: Oh, come on! Why don’t you do that? We’ll be a small,

select circle. And I think I can promise you a fairly lively evening, as

Hed-- as Mrs. Tesman would say.

In

De

Pos-Off

Com: in here Brack offers Lovborg to join

at his party. To convince Lovborg, he also

promises that it will be not spend a lot of

time.

(-) D+

I+

A-23 TESMAN: Here! Here are the goodies. [puts the tray down].

HEDDA: Why don’t you get Berta to do it?

TESMAN [pouring punch]: Because I think it’s so much fun waiting

on you, Hedda.

In Pos-Giv

Dir: Hedda feels strange because her

husband serve anything that she needs, so

she asks Tesman about their maid.

(-) D-

I-

109

HEDDA: But you’ve filled both glasses. And Mr. Lovborg didn’t

want any --

De

Asr: then, Tesman replied Hedda’s request

with the statement based on his feeling.

A-24 LOVBORG [clenching his hands]: Oh, why didn’t you do it! Why

didn’t you shoot me down, as you said you would!

HEDDA: Because I’m afraid of scandal!

LOVBORG: Yes, Hedda. You are really a coward.

In

De

Pos-Giv

Dir: Lovborg request the reason about

Hedda’s ability to shoot him.

Asr: Then Hedda replied it with a

statement that she made based on her

feeling.

(-) D-

I+

A-25 HEDDA [changing her tone]: Tell me, Judge Brack! Why did you

keep such a close watch on Eilert Lovborg?

BRACK: Well, for one thing, it is obviously of some concern to me if

he testified that he came straight from my party.

In

De

Pos-Giv

Dir: in here Hedda’s looking for

information about Lovborg to Brack.

Asr: then Brack replied it with a statement,

he says anything based on his knowing.

(-) D-

I-

B-8 CHUBUKOV: Why, he came to propose to you.

NATALYA STEPANOVNA: To propose? To me? Why didn’t you

tell me so before?

In Pos-Giv

Dir: in here Natalya ask the information

(-) D-

I-

110

CHUBUKOV: So he dresses up in evening clothes. The stuffed

sausage! The wizen-faced frump! De

about Lomov presence to Chubukov.

Asr: then, chubukov replied it by using

assertive speech acts, he makes statements

based on his knowing.

C-13 LIONEL: Can I buy some candy? A man has a cart with red and green

coconut bars.

THE WOMAN: He’s dirty and his cart is dirty.

In

De

Pos-Avo

Dir: in here Lionel requests to her mother

to bought her candy.

Asr: but the Woman replied by make a

statement like that.

(-) D-

I+

C-14 THE WOMAN [through clenched teeth]: Oh, stop it.

LIONEL: Why’d we have to come way up here?

THE WOMAN: Lionel, I wanted to be alone with you, to talk to you...

In

De

Pos-Giv

Dir: in here Lionel ask information or

reason why he is must go with his mother.

Asr: in here the Woman replies her son

question by making explanation

(-) D-

I-

C-15 THE WOMAN: I guess your dreams are more interesting. What else

do you see?

THE BOY: I see myself married to a wonderful, beautiful girl and

De

In

Pos-Gif

Dir: to get new information,the Woman

(-) D+

I-

111

she.. Well, she’s crazy about me, mad about me. give her sympathy to the Boy.

C-16 THE BOY: Why don’t you talk to your husband?

THE WOMAN: That’s not so simple. We rarely speak to each other.

No one is angry but there’s nothing to say. He has his books and the

boy and friends who talk about India, The United States, Israel, the

Soviet Union, Korea, North and South Vietnam,..little countries and

big events.

In

De

Pos-Giv

Dir in here the Boy asks the information

about the bond of the Woman and her

husband.

Asr: then she replied by assertive speech

act, she explains the reason for the Boy.

(-) D+

I-

Appendix 3

Politeness Strategies

FactorsData

CodeText

Form Strategies and Speech Acts PO

(+/-)

CI

(+/-)

A-1 Tesman: We were so sorry we couldn’t give you a seat in the carriage.

But you saw what a pile of boxes Hedda had to bring with her.

MISS TESMAN: Yes, she had certainly plenty of boxes.

De Neg-Apo

Exp: in here Tesman feels sorry about his

act before that may be makes Miss Tesman

irritated.

(+) D-

I-

A-2 BRACK: And it’s there the tiniest little opening in the door for De Neg-Min (+) D-

112

negotiations?

HEDDA: You forgot to provide one.

BRACK: Another stupidity.

Dir: in here Brack requests Hedda’s time to

do chit chat by minimizing imposition.

I-

A-3 BERTA: Well, but there’s another thing, Miss. I’m so mortally afraid

that I shan’t be able to suit the young mistress.

MISS TESMAN: Oh well -- just at the first there may be one or two

things ---

BERTA: Most like she’ll be terrible grand in her ways.

De Neg-Pes

Asr: Berta makes that statement based on

her feeling, he can’t guarantee that she

suits with Hedda.

(+) D-

I+

A-4 MISS TESMAN: We shall just have to make the best of it Berta,

That’s all. George can’t do without you, you know. He just can’t

you’ve looked after him ever since he was little boy.

BERTA: Yes, but miss -- I’ve ever so worried about leaving Miss

Rina. The poor dear lying there all helpless. With that new girl and

all. She’ll never learn how to make things nice and comfortable for an

invalid.

De Neg-Apo

Exp: in here Berta makes excuse statement

to inform Miss Tesman that she is not sure

about her ability.

(+) D-

I+

A-5 MISS TESMAN: I just don’t see how you made it do for both of you,

though.

TESMAN: No, I suppose that’s not so easy to understand, hm?

De Neg-Pes

Asr: in here Tesman makes the statements

based on fact that exists.

(+) D-

I+

A-6 HEDDA: Do you think she minded that business with the hat?

TESMAN: Oh I don’t think so, Not much. Perhaps a little bit right at

De Neg-Apo (+) D-

I-

113

the moment…

HEDDA: Well, I’m sorry, but I must say it strikes me as very odd --

putting her hat down here in the living room. One just doesn’t do that.

Exp: Hedda feels uncomfort because her

behaviour that may be irritated Miss

Tesman.

A-7 TESMAN: But we certainly don’t want to bother you with that.

Hedda said she’s going to take care of it herself. But do sit down, hm?

BRACK: Thanks. Maybe just for a moment. There’s one thing I’d

like to talk to you about, my dear Tesman.

TESMAN: Oh? Ah, I see!

De Neg-Que

Asr: in here Brack makes a statement with

the purpose of requesting Tesman’s time to

talk.

(+) D-

I-

A-8 HEDDA: This makes no difference as far as that is concerned.

BRACK: Really? Well, in that case, of course--goodbye! [To

Tesman] I’ll pick you up on my afternoon walk.

TESMAN: What? Oh yes, of course. I’m sorry; I’m just all flustered.

De Neg-Apo

Exp: Tesman says his regretness about his

act before that may be hurt Brack.

(+) D-

I-

A-9 TESMAN: Perfectly reasonable. Listen, I just got hold of your new

book, but I haven’t had a chance to read it yet.

LOVBORG: You may save yourself the trouble.

TESMAN: Why do you say that?

De Neg-Apo

Exp: in here Tesman says his apologize

following by his reason.

(+) D-

I+

A-10 LOVBORG: Hedda!

HEDDA [her voice a little louder than usual]: I’ll show you some

pictures, if you like. You see -- Tesman and I, we took a trip through

Tyrol on our way back.

De Neg-Rec

Com: in here Hedda makes an offer to

make good relation with Lovborg.

(+) D-

I-

A-11 LOVBORG [still in a low voice]: Answer me, Hedda. How could

you do a thing like that?

De Neg-Rec (+) D-

I+

114

HEDDA [apparently engrossed in the album]: If you keep on using

my first name I won’t talk to you.

Asr: in here Hedda makes a statement to

threats Lovborg because she feels

uncomfort with Lovborg’s behaviour.

A-12 LOVBORG [calm again, puts the glass down]: This was silly of me,

Thea. I’m sorry. Taking it this way, Please, don’t be angry with me.

You’ll see both you and all those others -- that even if I have been

down! With your help, Thea, dear comrade.

MRS. ELVSTED [beaming]: Oh, thank God!

De Neg-Apo

Exp: in here Lovborg realize that he did

mistake to Hedda, so he says something

like that to make Hedda not angry.

(+) D-

I-

A-13 BRACK: I’m delighted!

LOVBORG [picks up his manuscript and says to Tesman]: For there

are a couple things here I’d like to show you before I send it off.

TESMAN: Just think! Isn’t that nice!

De Neg-Min

Asr: in here Lovborg wants to inform

Brack something.

(+) D-

I-

A-14 BRACK: as you wish. But now -- to put in the grand style -- now

when a solemn challenge of responsibility is being posed? Demands

made on you? [smiles] New demands, Mrs. Tesman?

HEDDA [angry]: Quite! You’ll never see anything of the kind!

BRACK [cautiously]: We’ll talk about this a year from now oo on the

outside.

HEDDA [curtly] I’m not made for that sort of thing, Judge! No

demands for me!

BRACK: But surely you, like most women, are made for a duty

De Neg-Que

Asr: in here Hedda refuse to agree with

Brack’s statement.

(+) D-

I+

A-15 HEDDA [by the desk]: Well, well, Mr. Lovborg -- aren’t you a trifle De Neg-Apo (+) D-

115

late coming for Thea?

LOVBORG: Or a trifle early for calling on you. I apologize. Exp; Lovborg says sorry because his

disturbing behavior.

I+

A-16 TESMAN: Oh, for heaven’s sake, tell us!

BRACK [Shrugging his shoulders.]: Well, I regret to say Eilert

Lovborg has been taken to the hospital. He is lying at the point of

death.

MRS. ELVSTED [Shrieks.]: Oh, God!

De Neg-Apo

Exp: in here Brack says sorry because of

bad information, he won’t make others sad.

(+) D-

I-

A-17 HEDDA: Do you think she minded that business with the hat?

TESMAN: Oh I don’t think so, Not much. Perhaps a little bit right at

the moment.

HEDDA: Well, I’m sorry, but I must say it strikes me as very odd --

putting her hat down here in the living room. One just doesn’t do that.

De Neg-Pes

Asr: in here Tesman doesn’t sure that

Hedda want confess her mistake, so he

makes a statement to not force her.

(+) D-

I+

B-1 LOMOV: One moment...this is very minute. The fact is, I’ve come to

ask the hand of your daughter, Natalya Stepanovna, in marriage.

CHUBUKOV: [Joyfully] By Jove! Ivan Stepanovitch! Say it again-- I

didn’t hear it all!

De Neg-Min

Dir: in here Lomov requests a acceptance

of proposal from Chubukov.

(+) D-

I-

B-2 LOMOV: [Excited] You see, honoured Natalya Stepanova...the fact

is, I’ve made up my mind to ask you to hear me out...of course you’ll

be surprised and perhaps even angry, but a…[Aside] It’s awfully cold!

NATALYA STEPANOVA: What’s the matter? [Pause] Well?

De Neg-Pes

Asr: in here Lomov makes a statement

based on his believe, because he thinks that

(+) D-

I-

116

his statement would be shocking.

B-3 NATALYA STEPANOVA: Ours! You can go on proving it for two

days on end, you can go an put on fifteen dress-jackets, but I tell you

they’re ours, ours, ours! I don’t want anything of yours and I don’t

want to give up anything of mine. So there!

LOMOV: Natalya Stepanova, I don’t want the Meadows, but I am

acting on principle. If you like, I’ll make you a present of them.

De Neg-Rec

Com: in here Lomov offers his ability to

present what his believe, he does that to

convince Natalya.

(+) D-

I+

B-4 LOMOV: My heart’s palpitating awfully… My foot’s gone to sleep…

There’s something keeps pulling in my side.

NATALYA STEPANOVNA: Forgive us, Ivan Vassilevitch, we were

all a little heated… I remember now: Oxen Meadows really are yours.

LOMOV: My heart’s beating awfully… My Meadows… My

eyebrows are both twitching.

De Neg-Apo

Exp: Natalya realizes that what she and her

dad doing are make Lomov angry, so she

says apologize to make better situation.

(+) D-

I+

B-5 LOMOV: Squeezer better than Guess? What an idea! [Laughs]

Squeezer better than Guess!

NATALYA STEPANOVNA: Of course he’s better! Of course,

Squeezer is young, he may develop a bit, but on points and pedigree

he’s better than anything that even Volchanetsky has got.

LOMOV: Excuse me, Natalya Stepanovna, but you forget that he is

overshot, and an overshot always mean the dog is a bad hunter!

De Neg-Apo

Asr: in here Lomov excuses and interrupts

Natalya’s word, because he refuses to agree

with Natalya statement.

(+) D-

I+

B-6 LOMOV: Why shout, madam?

NATALYA STEPANOVNA: Why talk rot? It’s awful! It’s time your

De Neg-Apo (+) D-

I-

117

Guess was shot, and you compare him with Squeezer!

LOMOV: Excuse me, I cannot continue this discussion: my heart is

palpitating.

Asr: in here Lomov excuses because he

feels not able to make a longer

conversation anymore.

C-1 THE BOY: I know what you mean you must think you’re some

pretty. You’re no movie star. I tell you...

THE WOMAN: Thank God. I want to go home, if you don’t remind.

THE BOY: in my pocket, if you move, I’ll cut you with it.

De Neg-Rec

Com: in here the Boy make a statement

following by swear to convince the

Woman.

(+) D+

I+

C- 2 THE WOMAN: Don’t dare me or I will scream and it’ll be the worse

for you if I do and well do you know it.

THE BOY [takes his hand out of his pocket and turns out the lining]:

I don’t have a knife.

De Neg-Rec

Com: in here the Boy make a statement

following by swear to convince the Woman

(+) D+

I-

C-3 THE WOMAN: Most likely that’s so. It should be very easy for us to

be truthful with now another. I don’t know your name, you don’t

know mine and we shall probably never see each other again, Oh,

there are so many things I need to say, that I’ve never been able to

say. We could tell the truth to each other.

THE BOY: Native boy makes lady laugh. I’m not here for your

amusement.

De Neg-Imp

Asr: in here the Woman makes a statement

to convince because she wants the Boy will

not lying.

(+) D+

I+

C-4 THE BOY: But I do. Since I can’t kill them and don’t like to kill

except in my mind, then I wish a big war would happen and kill them

De Neg-FTA (+) D+

I-

118

for me.

THE WOMAN: The war would kill you too and so where’s the

profit?

THE BOY: I wouldn’t care because everybody would be dead and

that’s a satisfaction.

Asr: in here the Boy make a statement that

consist of general rule then combined with

what his believe.

A-17 BRACK: as you wish. But now -- to put in the grand style -- now

when a solemn challenge of responsibility is being posed? Demands

made on you? [smiles] New demands, Mrs. Tesman?

HEDDA [angry]: Quite! You’ll never see anything of the kind!

BRACK [cautiously]: We’ll talk about this a year from now oo on the

outside.

HEDDA [curtly] I’m not made for that sort of thing, Judge! No

demands for me!

BRACK: But surely you, like most women, are made for a duty.

In Neg-FTA

Asr and Dir: Brack makes a statement

based on general fact to ask Hedda about

her opinion.

(+) D-

I+

B-7 NATALYA STEPANOVNA: Papa, please tell to this gentleman who

owns Oxen Meadows, we or he?

CHUBUKOV: [To Lomov] Darling, the Meadows are ours!

LOMOV: But, please, Stepan Stepanitch, how can they be yours? Do

be a reasonable man! My aunt’s grandmother gave the Meadows for

the temporary and free use of your accustomed to it as if it was their

own, when it happened that….

In Neg-Apo

Exp: in here Lomov ask for explanation

from Chubukov from his statement.

(+) D-

I+

A-18 BRACK [leans forward a little]: All right. Let’s have a nice little chit Im Neg-Que (+) D-

119

chat, Mrs. Tesman.

HEDDA [leans back]: Don’t you think it’s an eternity since last time

we talked! I don’t count last night and this morning. That was

nothing.

Dir: in here Brack commands and requests

Hedda to make conversation with him.

I-

Appendix 4

Politeness Expression

FactorsData

CodeText

Form Strategies and Speech Acts PO

(+/-)

CI

(+/-)

A-1 Hedda. [Holds out her hand.] Good morning, dear Miss Tesman! So

early a call! That is kind of you.

MISS TESMAN: [With some embarrassment.] Well, has the bride

slept well in her new home?

De OR-Rhe

Asr: Hedda makes a statement in order to

tease Miss Tesman for her act.

(-) D-

I+

A-2 HEDDA: My dear Judge -- Tesman is a specialist.

BRACK: Granted.

HEDDA: And specialist are not at all entertaining travel companions.

Not in the long run, any rate.

De OR-Gen

Asr: in here Hedda makes a statement

based on the general rule of life.

(-) D-

I-

120

BRACK: Not even.

A-3 TESMAN [Moving about the room.]: To think of Eilert going out of

the world in this way! And not leaving behind him the book that would

have immortalised his name.

MRS. ELVSTED: Oh, if only it could be put together again!

De OR-Hin

Asr: Mrs. Elvsted in here makes that

statement because she wants to work

together with Tesman.

(-) D-

I-

A-4 HEDDA [Looks up at him.]: So, I am in your power, Judge Brack.

You have me at your beck and call, from this time forward.

BRACK [Whispers softly.]: Dearest Hedda, believe me. I shall not

abuse my advantage.

HEDDA: I am in your power nonetheless. Subject to your will and

your demands. A slave, slave then!

De OR-Met

Asr: Hedda makes a statement based on

her feeling that has no power to dispute

Brack.

(-)

D-

I-

B-1 CHUBUKOV: Then why are you in evening dress, my precious? As if

you’re paying a New Year’s Eve visit!

LOMOV: Well, you see, it’s like this. [Take his arm] I’ve come to

you, honoured Stepan Stepanovitch, to trouble you with a request. Not

once or twice have I already had the privilege of applying to you for

help, and you have always, so to speak… I must ask your pardon, I am

getting excited. I shall drink some water, honoured Stepan

Stepanovitch. [Drinks]

De OR-Und

Dir: Lomov in here makes a statement and

then following by the fact based on his

experience to make Chubukov convinced.

(-) D-

I-

B-2 NATALYA STEPANOVNA: Then smoke. ... Here are the matches. ...

The weather is splendid now, but yesterday it was so wet that the

De OR-Inc (-) D-

I-

121

workmen didn't do anything all day. How much hay have you stacked?

Just think, I felt greedy and had a whole field cut, and now I'm not at

all pleased about it because I'm afraid my hay may rot. I ought to have

waited a bit. But what's this? Why, you're in evening dress! Well, I

never! Are you going to a ball, or what?--though I must say you look

better. Tell me, why are you got up like that?

LOMOV: [Excited] You see, honoured Natalya Stepanovna ... the fact

is, I've made up my mind to ask you to hear me out. ... Of course you'll

be surprised and perhaps even angry, but a ...

Asr: in this conversation, Lomov makes

that kind of statement based on his

believe, because he thinks that his word

may be irritating Natalya.

C-1 THE BOY: Are you happy?

THE WOMAN: That’s none of your business.

THE BOY: Because I am black....

THE WOMAN: Stop saying that.

THE BOY: Black business is your business but white business is none

of mine.

De OR-Inc

Asr: in here the Boy make uncomplete

statement to keep his feeling.

(-) D+

I+

C-2 THE WOMAN: Most likely that’s so. It should be very easy for us to

be truthful with now another. I don’t know your name, you don’t know

mine and we shall probably never see each other again, Oh, there are

so many things I need to say, that I’ve never been able to say. We

could tell the truth to each other.

THE BOY: Native boy makes lady laugh. I’m not here for your

amusement

De OR-Hin

Asr: the Boy makes that statement with

the purpose he won’t be laughed by the

Woman.

(-) D+

I+

122

C-3 THE WOMAN: Lionel, dear heart, listen to mother.

LIONEL: It’s cooler up here!

THE WOMAN [As she spreads a blanket and rest her picnic basket.):

It is not!

THE WOMAN: I don’t have to put up with this. You get down or

I’ll...

De OR-Inc

Asr: in here the Woman commands her

son following by incomplete statement.

(-) D-

I-

C-4 LIONEL: I want to go to the bottom of the hill and play with the native

children down there.

THE WOMAN: You’ll get in a fight.

LIONEL: I won’t

THE WOMAN: You always do.

De OR-Ovr

Asr: in here the Woman makes a

statement based on her experience.

(-) D-

I+

C-5 THE WOMAN: I won’t move. You don’t want my purse and you’re

not going to assault me, so why are you here? What do you want?

THE BOY: The park is free, I can sit here as well as you.

De OR-Gen

Asr: in here the Boy makes a statement

based on general rule that exists.

(-) D+

I-

C-6 THE WOMAN: Damn shame. Aren’t you hungry?

THE BOY: Lord, I’m starving. [She unpacks the basket. He helps

her.] Olives! I had some olives once when my sister worked on a

banquet at the hotel.

De OR-Pre

Asr: in here the Boy makes a statement

based on his experience to inform the

Woman.

(-) D+

I-

C-7 THE WOMAN: Take the bottle home with you. Put it in this bag so no

one will accuse you of pinching them.

De OR-Met (-) D+

I-

123

THE BOY: Cake, a whole, little cake with icing. This is like

Christmas, I mean a good Christmas, a prosperous christmas.

Asr: in here the Boy uses assertive

because he makes a statement to grateful

what he’s got.

C-8 LIONEL [Sits down.]: I’m going to tell my father when I get home.

THE WOMAN: Tell him what?

LIONEL: That.. that we had a picnic with… with...

De OR-Inc

Asr: in here Lionel makes incomplete

statement because he won’t hurt the Boy.

(-) D-

I+

B-3 LOMOV: No, you're mistaken, honoured Natalya Stepanovna, they're

mine.

NATALYA STEPANOVNA: Just think, Ivan Vassilevitch! How long

have they been yours?

LOMOV: How long? As long as I can remember.

In OR-Rhe

Dir: in here Natalya asks the explanation

to Lomov about his statement.

(-) D-

I+

C-9 THE WOMAN: Lionel! Lionel, get down, do you hear me? Oh, dear

God! Get down from that tree!

LIONEL: No. No. Nooooo!

THE WOMAN: Do you want to break your leg again?

In OR-Pre

Dir: in here the Woman commands her

son indirectly, she pries up the past event.

(-) D-

I+

C-10 THE BOY: I’ll be going now.

THE WOMAN: No, until we’ve had lunch, Lionel, give me the rest of

the green coconut.

LIONEL: No.

THE WOMAN: I’m waiting.

LIONEL: No.

In OR-Hin

Dir: in here the Boy commands Lionel

indirectly to make Lionel obey his

mother.

(-) D+

I+

124

THE BOY: Boy, don’t you hear your mother talking to you?

A-5 TESMAN [Terrified.]: Good Heavens, Hedda! What are you saying?

HEDDA: I say there is beauty in this.

MRS. ELVSTED: Oh Hedda! How can you talk of beauty in such an

act!

Ex OR-Rhe

Dir: in here Mrs. Elvsted asks the

explanation to Hedda about his statement.

(-) D-

I+