Rationale of the study
Grammar can be understood through various approaches, one of which defines it as a collection of rules outlining the permissible grammatical structures of a language This perspective emphasizes the clear distinction between grammatical and ungrammatical sentences, focusing primarily on the forms of these structures rather than their meanings or contextual applications Consequently, this method of analysis does not connect sentence structures to real-world contexts.
An alternative perspective views language as a communication system, analyzing grammar to understand how it enables speakers and writers to create and exchange meanings This approach emphasizes the suitability of grammatical forms for specific communicative purposes within particular contexts, rather than strictly distinguishing between grammatical and ungrammatical forms In this framework, the focus is on the functional roles of structures, rather than their components and meanings Grammarians adopting this descriptive method often utilize data from authentic texts.
The two approaches to language analysis are distinctly different: the first, known as formal analysis, focuses on grammatical structures, while the second, referred to as functional analysis, emphasizes the use of language in context Despite their differences, these approaches are not mutually exclusive.
Functional grammar is a valuable and intriguing analytical tool that enables a comprehensive examination of entire texts Despite its complexity, it provides a thorough framework for understanding language While renowned linguists like M A K Halliday have extensively studied functional grammar, its exploration in Vietnam remains limited Notably, only two Vietnamese grammarians have contributed to this field: Cao Xuân Hạo with his 1991 work "Tiếng Việt – Sơ thảo ngữ pháp chức năng" and Hoàng Văn Vân with "Ngữ pháp kinh nghiệm của cú Tiếng Việt – Mô tả theo quan điểm chức năng hệ thống" published in 2002.
As an English teacher, I aim to make a meaningful contribution to the field by focusing my thesis on "A Study on the Meaning and Structure of an English Fairy Tale: A Systemic Functional Analysis," utilizing Halliday’s functional grammar as the theoretical framework.
Aims of the study
This thesis attempts to study the meaning and the structure of an English fairy tale as seen from the systemic functional perspective.
Scope of the study
This study highlights key features of fairy tales, focusing on aspects such as transitivity, mood, theme patterns, and text cohesion, rather than covering all elements of meaning and structure.
Methods of the study
The methods used in the study are descriptive and analytic
Descriptive method is concerned with the description of main areas of functional grammar and analytic method is concerned with the analysis of the text.
LITERATURE REVIEW 3 2.1 Introduction
Theoretical backgrounds of fairy tales 20 1 What is fairy tales?
This chapter provides foundational knowledge on systemic functional grammar, highlighting key aspects of the theory, including the transitivity system, mood structure, thematic structure, and cohesion.
2.2.1 Introduction to systemic functional grammar
Systemic functional grammar, developed by M.A.K Halliday, is a grammatical model that emphasizes the functional use of language rather than a formal approach In his book "An Introduction to Functional Grammar" (1994), Halliday describes this model as functional in three interconnected ways: it represents texts, the linguistic system, and the elements of linguistic structures He argues that language evolves to fulfill human needs, making the fundamental components of meaning rooted in their functions within the overall linguistic system Additionally, Halliday’s model is termed "systemic" due to his creation of detailed system networks, such as mood types, that analyze various aspects of English grammar.
Hoang Van Van emphasizes that systemic functional grammar provides a comprehensive array of analytical tools that enable researchers to address various linguistic challenges, including phonological, grammatical, semantic, and discoursal issues within a text (Hoang Van Van 2006: 161) This theory integrates all language levels—phonology, lexico-grammar, semantics, and situational context It examines phonology through intonation, rhythm, and phonemic articulation, while lexico-grammar merges vocabulary and grammar into a cohesive framework Additionally, semantics focuses on meaning systems, distinguishing this theory by offering a model for contextual analysis that comprises three essential components.
THE MEANING AND STRUCTURE OF THE FAIRY-TALE “CINDERELLA” 24 3.1 Introduction
The chosen text
This article discusses "Learn English through Fairy Tales," an English book designed for Vietnamese students learning English as a second language Published by NXB Thanh Nien in 2006, the book features stories presented in both English and Vietnamese, facilitating language acquisition through engaging narratives.
Contextual configuration of the text
In the systemic functional model, context plays a crucial role in understanding language According to Halliday (1978, 1994), while not everything can be predicted, there is still a significant likelihood of accurately anticipating the language that will be used.
And three parameters to characterize context are field, tenor and mode
These features of the chosen text under study can be summarized as follows:
An English fairy tale written in the form of story-telling
Participants types: actors, sensors, behavers, and sayers
Process types: predominantly material, with past events characterizing the features of narrative
Writer and readers, with writer adopting the role of a recounter
Cinderella (a poor girl), Ugly stepsisters, fairy godmother, prince with information exchanging roles
Mood: mostly declarative in both narrative and dialogic portion, and nine imperative and two interrogative
Modality: ability on the part of the characters
High lexical density and parataxis and low grammatical intricacy
Not high sufficient (this fact is shown in the number of exophoric references)
Clause and clause complex analysis
I 1.There was once a gentleman who lived in a fine house with his kind and gentle wife and their pretty daughter
3 so the gentleman married again III 4 His new wife was not at all kind or pretty
IV 5 She had been married before
6 and had two daughters who were known, behind their backs, as the Ugly Sisters
V 7 Although they had no reason
9 the two sisters were horrid to their new stepsisters
12 and made her do all the work in the big house
VII 13 Her clothes became ragged and thin and far too small
VIII 14 The poor girl was always cold and tired
IX 15 In the evenings she would rest on a stool close to the fire, almost in the cinders and ashes
X 16 “Cinderella That’s the perfect name for you”,
18 when they saw her trying to keep warm
XI 19 Now the king and queen of their country had a son
20 and they planned a big ball for the prince in the hope
21 that he might find a bride
XII 22 Invitations were sent to all the big houses
XIII 23 When a large invitation card to the royal ball arrived at Cinderella’s house,
24 there was a great flurry of excitement
XIV 25 New dresses were chosen for the Ugly Sisters and their mother,
26 and nobody talked about anything except the ball
28 the prince will fall in love with me”,
30 smiling at herself in the mirror
XVII 34 “He won’t be able to resist falling in love with me
36 one day I could be queen”,
38 she was the queen already
40 to get another pair of shoes for her
XVIII 42 No one thought of asking Cinderella
43 if she would like to go to the ball
XIX 44 They scarcely even noticed her
46 trying on different wigs, fans and gloves
47 to go with their new ball dresses
XX 48 At last the day of the ball came,
49 and Cinderella worked harder than ever,
50 helping the Ugly Sisters and her stepmother
XXI 52 They quarreled with each other all day,
53 and by the time the carriage drove away to the king’s palace, with all the family in it,
XXII 56 But as she sat on her stool by the fire
57 she could not help a tear falling onto the ashes,
59 that she could have gone with them
61 that she was not alone
XXIV 62 A beautiful lady stood before her with a silver wand in her hand XXV 63 “Cinderella”, she said
66 what are those tears for?”
70 I could have gone to the ball, too.”
73 “, but first we have some work
XXIX 75 For if you are to go to the ball,
XXX 78 Fetch me the largest pumpkin
79 you can find in the garden.”
XXXI 80 Cinderella fetched the largest pumpkin
82 and with just a wave of her wand, her fairy godmother turned it into a gleaning golden coach
XXXII 83 “Now we need a few houses”,
XXXIII 85 “Look in the mouse trap
XXXIV 89 Cinderella ran to the larder
90 and found six mice running around in a cage
XXXV 91 She watched her godmother wave her wand
92 and suddenly, harnessed to the coach,
93 there were six shining dappled horses,
XXXVI 95 “Those horses need a coachman”,
XXXVII 97 “Look in the rat trap, Cinderella.”
XXXVIII 98 There were three rats in the trap
99 and as the godmother touched the largest rat with her wand,
XXXIX 101 But now up at the front of the coach sat a fine plump whiskery coachman in a smart uniform
103 and look behind the water barrel, Cinderella”,
106 if you can find something
107 we can use for footmen.”
XXXXI 108 Cinderella ran to the water barrel
109 and brought two lizards to her godmother
XXXXII 110 At the wave of her wand they were transformed into splendid footmen XXXXIII 111 “There now, Cinderella, your coach is ready”,
112 said her godmother with a smile
XXXXIV 113 “You will be able to go to the ball after all.”
XXXXV 114 “How can I go like this?”
116 looking down in despair at her ragged clothes and bare feet XXXXVI 117 Her godmother touched her with her wand –
118 her rags turned into a shimmering gown
119 and on her feet she was wearing the prettiest pair of glass shoes
XXXXVII 121 As Cinderella stepped into the coach
122 her godmother gave her a strict warning
XXXXVIII 123 “The magic will only last until midnight,
124 and then everything will return to what
127 you leave the ball before midnight, Cinderella.”
XXXXX 128 When Cinderella’s coach arrived at the palace
130 that a beautiful lady had arrived in such a splendid coach
131 that she must be a princess
XXXXXI 132 The prince himself came down the steps
134 and led her to the ballroom
136 the other guests fell silent in wonder
137 and the musicians stopped playing
XXXXXIII 138 The prince signaled to the musicians
XXXXXIV 141 The prince stayed at Cinderella’s side all evening
XXXXXVI 144 Not even the Ugly Sisters recognized her
XXXXXVII 145 Cinderella was so happy
146 that she did not notice
147 how quickly the time was flying by
XXXXXVIII 148 Suddenly she heard the clock strike the first stroke of midnight
XXXXXIX 149 With a cry she left the prince
150 and ran out of the ballroom
XXXXXX 151 As she flew down the steps,
152 one of her shoes fell off,
153 but she could not stop
XXXXXXI 155 Although the prince tried to follow Cinderella through the crowd,
156 he soon lost sight of her
XXXXXXII 157 He questioned everyone carefully
158 but no one had seen the beautiful lady leave
160 that the only person who had gone out was a young raggedly-dressed girl
XXXXXXIV 161 No one noticed the pumpkin in the corner of the courtyard or some mice, a rat and a pair of lizards
162 that slunk into the shadows
XXXXXXV 163 But the prince did find the glass shoe on the steps,
164 and he recognized it as
165 one of the elegant shoes the mysterious and lovely lady had worn
XXXXXXVI 166 The next day the Ugly Sisters could talk of nothing but the beautiful lady who had captured the prince’s heart
167 and how she had disappeared so suddenly
168 and how no one recognized her name
XXXXXXVII 169 The palace issued a proclamation
170 that the prince was looking for the lady who had worn the glass shoe
XXXXXXVIII 171 His servants would tour the country with it
172 until they found the lady whose foot it fitted
173 and the prince would marry that lady
XXXXXXXIX 174 The prince traveled around with his servants
175 but time and again he was disappointed
176 as the shoe failed to fit any lady’s foot
XXXXXXX 177 At last they came to Cinderella’s house
XXXXXXXI 178 The Ugly Sisters were waiting
XXXXXXXII 179 “Let me try first”,
182 and pushing as hard as she could
183 to squeeze it into the shoe
XXXXXXXIII 184 But it was no good
186 and laughed at her sister’s efforts
187 as she, too, tried to force her foot into the tiny glass shoe XXXXXXXV 188 When she had failed,
XXXXXXXVI 190 “You!” sneered the Ugly Sisters
191 “But you were not even at the ball.”
XXXXXXXVII 192 Cinderella slipped her foot into the glass shoe –
XXXXXXXVIII 194 Then she drew from behind her back a second shoe which she put on the other foot
XXXXXXXIX 195 At the same moment the fairy godmother appeared
196 and touched Cinderella with her wand
XXXXXXXX 197 Instantly her ragged clothes changed back into the beautiful shimmering dress,
198 and Cinderella once again became the lovely stranger XXXXXXXXI 199 The delighted prince asked Cinderella
XXXXXXXXII 204 The Ugly Sisters begged Cinderella
205 to forgive them for their unkindness
XXXXXXXXIII 207 There was a fine royal wedding for Cinderella and the prince,
208 and they lived happily ever after
XXXXXXXXIV 209 Cinderella found two husbands for the Ugly Sisters at court,
210 and they too lived happily ever after
The analysis reveals that the text contains 210 clauses organized into 84 clause complexes, which exhibit both paratactic and hypotactic relationships Many of these clause complexes feature a combination of paratactic and hypotactic sequences, often nested within one another The predominant semantic relations among them include elaboration, extension, and enhancement Additionally, 19 clause complexes demonstrate quoting and quoted relationships, highlighting the dialogic aspect of the text, with one instance presented in reported speech Refer to Table 2 for a detailed representation of the clauses and clause complexes, as well as Appendix 1 for further information.
The transitivity pattern of the text
Cinderella, a poor girl mistreated by her stepsisters, endures a life filled with unhappiness The narrative unfolds as a classic fairy tale, highlighting her struggles and the emotional turmoil she faces due to her family's cruelty Through this experiential component, the story captures the essence of her plight, inviting readers to empathize with her situation.
The analysis of 210 clauses reveals a significant predominance of material processes, with 113 instances highlighting the actions of main characters, such as "died," "married," and "traveled." Additionally, 31 clauses represent mental processes, showcasing the characters' thoughts and feelings through verbs like "saw," "thought," and "wished." This distribution underscores the dynamic interplay between action and cognition in the narrative.
The narrative explores the perception, cognition, and emotions of characters throughout various situations, as indicated by key phrases such as "noticed," "recognized," "knew," and "liked," which appear at different points in the story Notably, there are 38 relational process clauses that further illustrate these experiences, enhancing the depth of character development.
14, ‘s (is) in 16, am in 27, was in 54, am in 64, are in 75, be in 131, was in 160, was in
184, were in 191, etc) describing the state of being of the actors/ characters in the story
7 clauses are existential process positing that things or people are in existent (for example, was in 1, was in 24, were in 93, were in 98, was in 202, was in 207, etc)
In the story of Cinderella, there are 15 verbal process clauses that capture the dialogues of the characters, including Cinderella and her godmother Additionally, the remaining clauses illustrate the behavioral processes that reflect the physiological and psychological traits of the characters.
The article analyzes the use of verb tenses in a narrative, revealing that the majority of processes are in the simple past tense (133 out of 210), primarily found in the narrative sections In contrast, the present simple (31/210) and simple future (5/210) tenses are predominantly utilized in dialogue, reflecting actions occurring and anticipated during character interactions Additionally, the past perfect tense (9/210) is employed to indicate actions that occurred prior to other past events.
The text explores various circumstances that shape the narrative, including manner (suddenly, quickly, carefully), location (in the cinder and ashes, at Cinderella’s house, in the garden), and cause (for their unkindness, for Cinderella and the prince) It also highlights accompaniment (with each other, with Cinderella) and extent, addressing frequency (always, time and again), reason (so), and duration (until midnight, all evening) These elements collectively enhance the storytelling by providing depth and context to the characters’ experiences.
The transitivity pattern of the text is presented in table 3 See Appendix 2.
The mood pattern of the text
The analysis of the text reveals two primary relationships: one among the characters and another between the writer and the reader The narrative predominantly features third-person personal subjects, characteristic of fairy tales recited by an external narrator The story incorporates traditional vocabulary, including terms like king, queen, prince, and godmother, enhancing its fairy tale essence Additionally, the narrative employs simple past tense to convey events, alongside 14 modal elements that express potential actions, such as "she would rest in the evening" and "I could have gone to the ball."
…) except one showing supposition (she must be a princess) and one indicating a possibility (He might find a bride)
The article highlights that the majority of the clauses are declarative, a common characteristic of narrative forms like fairy tales Additionally, it notes the presence of only two interrogative clauses and nine imperative clauses, which are cited throughout the text.
The mood pattern of the text is presented in table 4 See Appendix 3
The thematic pattern of the text
In an analysis of 210 clauses and clause complexes, 183 were identified as having an unmarked theme, while 27 featured a marked theme The text frequently begins with nominal nouns such as "a gentleman," "his wife," or "the poor girl," before transitioning to third-person pronouns like "he," "she," or "they," illustrating the narrative's progression Additionally, 66 clauses contained a textual theme, and only 5 interpersonal themes were present, indicating that the text is likely designed for reading or storytelling.
The theme and rheme pattern of the text is presented in table 5 See Appendix 4.
The structure of the fairy tale text
Once, a gentleman resided in a beautiful home with his kind wife and their lovely daughter After the unfortunate passing of his wife, he remarried, but his new spouse lacked both kindness and beauty She had previously been married and brought two daughters into the family, who were secretly referred to as the Ugly Sisters.
Despite having no justification for their behavior, the two sisters treated their new stepsister cruelly, demanding tasks from her and scolding her relentlessly As a result, her clothes became tattered and ill-fitting, leaving her perpetually cold and exhausted Each evening, she would seek solace by resting on a stool near the fire, often finding herself surrounded by cinders and ashes.
The stepsisters mocked Cinderella by calling her "Cinderella" as she tried to stay warm Meanwhile, the king and queen were organizing a grand ball for their son, hoping he would find a bride Invitations were dispatched to all prominent families, and when an invitation to the royal ball arrived at Cinderella's home, it sparked a flurry of excitement The Ugly Sisters and their mother eagerly selected new dresses, and the anticipation of the ball consumed their conversations.
“I am sure the prince will fall in love with me”, said one sister, smiling at herself in the mirror
In a moment of arrogance, one character dismissed Cinderella, believing that her charm would win over the prince, dreaming of becoming queen As she playfully acted as royalty, she commanded Cinderella to fetch another pair of shoes, completely ignoring her feelings Meanwhile, the others were too absorbed in their preparations for the ball to consider inviting Cinderella, barely acknowledging her presence as they excitedly tried on various accessories to complement their extravagant dresses.
Finally, the day of the ball arrived, and Cinderella tirelessly assisted her Ugly Sisters and stepmother in preparing for the event, despite their constant bickering throughout the day.
CONCLUSION 43 4.1 Recapitulation
Implications for the study
The study on the meaning and structure of an English fairy tale is sure to be useful for teaching and learning English
Understanding the three metafunctions of language is essential for learners to differentiate between the various components of meaning in a text By analyzing transitivity patterns, mood patterns, and theme-rheme patterns, learners can gain insights into the structural patterns present in clauses across different texts This analysis serves as a practical example for learners to enhance their comprehension of language structure.
Cohesion is essential in text creation, as it reveals how different parts of a text connect and work together Analyzing cohesion enables teachers to guide students in improving their discourse skills, whether in writing or speaking By focusing on cohesive elements, students can enhance their ability to construct clear and coherent messages.
This study analyzes a fairy tale, highlighting its typical features, including structure, characters, and essential elements that define the genre Readers will gain insights into how to differentiate fairy tales from similar genres like fables and legends.
From this study readers can be convinced that systemic functional grammar is a powerful to analyze any text.
Suggestions for further study
This study focuses on analyzing an English fairy tale through the lens of Systemic Functional Grammar Future research should explore various text types, such as legends and fables, to compare and contrast their similarities and differences with fairy tales.
1 Bloor, Thomas and Meriel (1995), The Functional Analysis of English Oxford: Oxford University Press
2 Brown, G & G Yule (1983), Discourse Analysis Cambridge: CUP
3 Grimm, J L C & W C (1993), Grimm’s fairy tales Herfortshire: Wordsworth
4 Halliday, M A K, (1994), An introduction to Functional Grammar, Second Edition, London: Edward Arnold,
5 Halliday, M A K., and Hasan (1985), Language, Context and Text: Aspect of
Language in Social-Semiotic Perspective Geelong, Victoria: Deakin University Press,
6 Halliday, M A K., and Hasan (1976), Cohesion in English, London: Longman
7 Halliday, M A K (2004), n lu n ngữ pháp chức năng ( Hoàng Văn Vân d ch)
8 Oxford Advanced Learner’s Dictionary (1991), Oxford: Oxford University Press
9 Thompson (1996), Introducing Functional Grammar Oxford: Oxford University Press
10 Jacobs, T (1967), English Fairy Tales New York: Dover Publications (an unaltered republication of the 3 rd edition by G B Putnam’s Sons and David Nitt (1898)
11 Jacobs, T (1969), English fairy tales and fables http// w.w.w English fairy tales and fables
12 Vân, Hoàng Văn (2005c), The Meaning and Structure of a Science Fiction Story: a Systemic Functional Analysis Jounal of Science (Foreign Language) No2.Pp.28-45
13 Vân, Hoàng Văn (2006), Introducing Discourse Analysis Hanoi: Education
1 Cao Xuân Hạo (1991) Tiếng Việt –Sơ thảo ngữ pháp chức năng Hà N i: NXB Giáo Dục
2 Đào Tuyết Thảo (2001), Truyện cổ thế giới tinh tuyển Hà N i: NXB Thế Giới
3 Hoàng Văn Vân (2002), Ngữ pháp kinh nghiệm của cú Tiếng Việt –Mô tả theo quan điểm chức năng hệ thống Hà N i: Nhà xuất bản khoa học xã h i
4 Hữu Ngọc (2001), Truyện Cổ Grim (bản d ch) Hà N i: NXB Văn học
5 Nhóm EIF Hanoi (2006), Học tiếng anh qua truyện cổ tích- Learn English through fairy tales NXB Thanh Niên
Boundary Marker used for the analysis:
I, II, III: … Number of clause complex in the whole text
(1), (2), (3)……: Number of clause in the whole text
1, 2, 3,……….: Number of clause within a clause complex
Table 3: The transitivity pattern of the text
3 Actor Material P: married Reason Extent
III 4 Carrier Relational P: was Attribute Location
VII 13 Carrier Relational P: became Attribute
VIII 14 Carrier Relational P: was Attribute Extent
IX 15 Actor Material P: rest Location Location+ location
XI 19 Carrier Relational P: had Attribute
20 Actor Material P: planned Goal Cause
XII 22 Material P: sent Goal Location
XIII 23 Actor Material P: arrived Location
XIV 25 Material P: chosen Goal Cause
XV 27 Carrier Relational P: am Attribute
28 Actor Material P: fall Accompan iment (comitatio n)
XVI 31 Sensor Mental P: fool Manner
XVII 34 Carrier Relational P: be Attribute Accompan iment (comitatio n)
36 Carrier Relational P: be Attribute Location
38 Token Relational P: was Value Manner
XVIII 42 Sensor Mental P : thought Phenomenon
XIX 44 Actor Material P: noticed Manner Manner
XXI 52 Actor Material P: quarreled Accompan Extent ent
XXII 56 Actor Material P: sat Location Location
59 Actor Material P: gone Accompan iment
XXIII 60 Sensor Mental P: realized Manner
XXIV 62 Actor Material P: stood location Manner(mea n) XXV 63 Sayer Verbal P: said
(purpose) XXVI 67 Behaver Behavioural P: looked XXVII 68 Sensor Mental P: wish
70 Actor Material P: gone Location Accompanim ent
XXIX 75 Actor Material P: go Goal
XXXI 80 Actor Material P: fetched Goal
XXXII 83 Sensor Mental P: need Phenomenon
XXXIV 89 Actor Material P: ran Location
XXXV 91 Sensor Mental P: watched Phenomenon
XXXVI 95 Sensor Mental P: need Phenomenon
XXXVIII 98 Existent Existential P: were Location
99 Actor Material P: touched Goal Manner
XXXIX 101 Behaver Behavioural P: sat Location
XXXXI 108 Actor Material P: ran Location
(product) XXXXIII 111 Carrier Relational P: is Attribute
XXXXV 114 Actor Material P: go Manner
XXXXVI 117 Actor Material P: touched Goal Manner
119 Actor Material P: wearing Goal Location
XXXXVII 121 Actor Material P: stepped Location
XXXXVIII 123 Actor Material P: last Manner Extent
127 Actor Material P: leave Goal Location
XXXXX 128 Actor Material P: arrived Location
XXXXXI 132 Actor Material P: came Goal
136 Carrier Relational P: fell Attribute Manner
XXXXXIII 138 Actor Material P: signaled Location
140 Material P: danced Accompan iment (comitatio n)
XXXXXIV 141 Actor Material P: stayed Location Extent
(Duration) XXXXXV 142 Sensor Mental P: knew
XXXXXVI 145 Carrier Relational P: was Attribute
XXXXXVIII 148 Sensor Mental P: heard Phenomenon Manner
XXXXXIX 149 Actor Material P: left Goal Manner
XXXXXX 151 Actor Material P: flew Goal
XXXXXXI 155 Actor Material P: tried Goal Location
156 Actor Material P: lost Goal Manner
XXXXXXIII 161 Sensor Mental P: noticed Phenomenon
XXXXXXIV 163 Actor Material P: find Goal Location
165 Actor Material P: worn Goal disappeared
XXXXXXVI 169 Sayer Verbal P: issued Verbiage
171 Actor Material P: tour Goal Manner
174 Actor Material P: traveled Accompan iment (comitatio n)
175 Carrier Relational P: was Attribute Extent
XXXXXXIX 177 Actor Material P: came Location Location
187 Actor Material P: tried Goal Addition/
191 Carrier Relational P: were Manner Location XXXXXXX
192 Actor Material P: slipped Goal Location
194 Actor Material P: drew Goal Location
198 Token Relational P: became Value Extent
209 Actor Material P: found Goal Manner Location
Table 4: The mood pattern of the text
Clause Subject Finite Mood Modality
II 2 His wife died Declarative
III 4 His new wife was not Declarative
9 The two sisters were Declarative
VII 13 Her clothes became Declarative
VIII 14 The poor girl was Declarative
XI 19 The king and queen of their country had Declarative
21 He might Declarative Possibility/ pos
XIII 23 A large invitation card to royal ball arrived Declarative
XIV 25 New dresses were Declarative
XVIII 42 No one thought Declarative
XX 48 The day of the ball came Declarative
57 she could not Declarative Ability/ negative
59 She could Declarative Ability/ positive
XXIV 62 A beautiful lady stood Declarative
72 Her fairy god mother said Declarative
76 I can not Declarative Ability/ negative
81 She could Declarative Ability/ positive
82 Her fairy godmother turned Declarative
88 We can Declarative Ability/ pos
XXXVI 95 Those horses need Declarative
106 You can Declarative Ability/positive
107 We can Declarative Ability/positive
XXXXIII 111 Your coach is Declarative
XXXXV 114 I can Interrogative Ability/positive
XXXXVI 117 Her godmother touched Declarative
XXXXVIII 123 The magic will Declarative
XXXXX 128 Cinderella’s coach arrived Declarative
131 She must Declarative Supposition/ pos
XXXXXI 132 The prince came Declarative
136 The other guests fell Declarative
XXXXXIII 138 The prince signaled Declarative
XXXXXV 142 No one knew Declarative
XXXXXVI 144 The Ugly Sisters recognized Declarative
152 One of her shoes fell Declarative
153 She could not Declarative Ability/ negative
XXXXXXI 155 The prince tried Declarative
XXXXXXIII 159 The guards said Declarative
160 The only person > was Declarative
XXXXXXIV 161 No one noticed Declarative
XXXXXXV 163 The prince did Declarative
165 The mysterious and lovely lady had Declarative
XXXXXXVI 166 The Ugly Sisters could Declarative Ability/positive
XXXXXXVII 169 The palace issued Declarative
XXXXXXVIII 171 His servants would Declarative
XXXXXXVIX 174 The prince traveled Declarative
XXXXXXXI 178 The Ugly Sisters were Declarative
XXXXXXXVI 190 The Ugly Sisters sneered Declarative
XXXXXXXIX 195 The fairy godmother appeared Declarative
XXXXXXXX 197 Her ragged clothes changed Declarative
XXXXXXXXI 199 The delighted prince asked Declarative
XXXXXXXXII 204 The Ugly Sisters begged Declarative
Table 5: The theme and rheme pattern of the text
Topical Theme Markednes s of Theme
III 4 His new wife Unmarked
VIII 14 The poor girl Unmarked
IX 15 In the evening Marked
XI 19 Now the king and queen Unmarked
XIII 23 When a large invitation card to the royal ball
53 and by the time the carriage Unmarked
XXII 56 But as she Unmarked
XXIX 75 For if you Unmarked
82 and with just a wave of her wand
99 And as The godmother Unmarked
XXXIX 101 But now Up to the front of the coach
XXXXII 110 At the wave of her hand Marked
XXXXIII 111 There now Cinderella Your coach Unmarked
119 and on her feet Marked
XXXXX 128 When Cinderella’s coach Unmarked
XXXXXI 132 The prince himself Unmarked
XXXXXVI 144 Not even the Ugly
152 one of her shoes Unmarked
XXXXXXI 155 Although the prince Unmarked
160 the only person who had gone out
XXXXXXV 163 But the prince Unmarked
165 as one of the elegant shoe Marked
XXXXXXVI 166 The next day Unmarked
175 but time and again Marked
XXXXXXXI 178 The Ugly Sisters Unmarked
XXXXXXXIX 195 At the same moment Marked
XXXXXXXXI 199 The delighted prince Unmarked
XXXXXXXXII 204 The Ugly Sister Unmarked
Cohesive devices Interpretative Devices Ties Status Chain his 1.gentleman 1-1 anaphoric
Their 1.gentleman+ his wife 1-1 anaphoric his 1.gentleman 2-1 anaphoric the gentleman 1.gentleman 3-2-1 anaphoric his 1.gentleman 4-3-2-1 anaphoric she 4.new wife 5-4 anaphoric their 6.daughters 6-6 anaphoric the (Ugly sisters) 6 daughters 6-6 anaphoric they 6 Ugly Sisters 7-6 anaphoric the 6.Ugly sisters 9-7-6 anaphoric their 6 Ugly Sisters 9-7-6 anaphoric they 6 Ugly Sisters 10-9-7-6 anaphoric her 9 new stepsister (pretty daughter)
10-9-1 anaphoric her 9 new stepsister 11-10-9-1 anaphoric her 9 new stepsister 12-11-10-9-1 anaphoric her 9 new stepsister 13-12-11-10-9-1 anaphoric the (work) exophoric the (big house) exophoric the (poor girl) 9 New stepsister
14-13-12-11-10-9-1 anaphoric the (evening) exophoric she 14 poor girl 15-14-13-12-11-10-9-1 anaphoric the (perfect name) exophoric you 14.poor girl
16-15-14-13-12-11-10-9-1 anaphoric the (stepsisters) 6 two Ugly Sisters 17-6 anaphoric they 6 Ugly Sisters 18-17-6 anaphoric her 16 Cinderella 18-16 anaphoric the (King and exophoric
Appendix 5 Table 6: References of the text their 19 King and queen 19-19 anaphoric they 19 king and queen 20-19 anaphoric the (prince) 19 son 20-19 anaphoric he 20 prince 21-20-19 anaphoric the (big houses) exophoric the (royal ball ) exophoric the (Ugly Sisters) 6 Ugly sisters 25-18-17-6 anaphoric their 6 ugly sisters 25-18-17-6 anaphoric the (ball) 23 royal ball 26-23 anaphoric
In the story, one ugly sister seeks validation from the prince, who is captivated by her beauty The other ugly sister, feeling overshadowed, also desires the prince's attention Each sister's insecurities are reflected in their interactions, as they both yearn for approval from the enchanted mirror, which symbolizes their self-worth Ultimately, the prince's affections become a source of rivalry between the sisters, highlighting their contrasting desires and the pursuit of love.
Cinderella, a beautiful lady, faced constant mistreatment from her ugly sisters and stepmother Despite their cruelty, she remained hopeful for a better life When the day of the grand ball arrived, her ugly sisters prepared to attend, leaving Cinderella behind However, with the help of her fairy godmother, she transformed and attended the ball, capturing the attention of the prince Throughout the evening, Cinderella's beauty shone, while her family remained unaware of her presence at the king's palace Ultimately, she left a lasting impression, proving that kindness and grace can shine through adversity.
I 62 beautiful lady 64-62 anaphoric your 42 Cinderella 64-42-39-18-16 anaphoric me 62.Beautiful lady
65-64-62 anaphoric those (tears) 57 tear 66-57 anaphoric
Cinderella eagerly anticipated the ball, a magical event that promised to change her life Her godmother played a crucial role in preparing her for this enchanting evening As Cinderella arrived at the ball, she captivated everyone with her beauty and grace The garden, filled with vibrant colors, showcased the largest pumpkin, a symbol of her fairy tale transformation This night marked a significant turning point for Cinderella, filled with hope and dreams of a brighter future.
78 largest pumpkin 80-78 anaphoric she 71 Cinderella 81-76-75-71-67-63-42-39-18-16 anaphoric her 65 godmother 82-65-64-62 anaphoric we (godmother
83-73 anaphoric her 80 Cinderella 84-80-67-63-42-39-18-16 anaphoric the (mouse trap) exophoric we 83 godmother
In the story of Cinderella, the narrative unfolds with various characters and objects playing pivotal roles Cinderella, assisted by her godmother, transforms a rat trap into a coach, which is drawn by horses The godmother's magic enables Cinderella to attend the royal ball, where she captures the attention of the prince Throughout the tale, anaphoric references to Cinderella, her coach, and the horses create a cohesive storyline, while exophoric references to elements like the larder and the water barrel enrich the context The transformation and support from her godmother highlight the themes of hope and resilience, making Cinderella a timeless figure in fairy tales.
107-89-83-73 anaphoric the 103.water barrel 108-103 anaphoric
16 the (wave) 110 wave 110-110 cataphoric your 108 Cinderella 111-108-89-80-67-63-42-39-18-16 anaphoric her 111 Cinderella 112-111-89-80-67-63-42-39-18-16 anaphoric you 111 Cinderella 113-111-89-80-67-63-42-39-18-16 anaphoric the (ball) 70 ball 113-111-70-48-43-26-20 anaphoric
16 anaphoric her 65 godmother 117-65-64-58 anaphoric her 111 Cinderella 118-111-108-89-80-67-63-42-39-18-
16 anaphoric the (prettiest pair of shoe) exophoric she 111 Cinderella 120-111-108-89-80-67-63-42-39-18-
16 anaphoric the (coach) 101 coach 121-101-92-91 anaphoric her 121 Cinderella 122-121-111-108-89-80-67-63-42-
39-18-16 anaphoric the (magic) exophoric you 121 Cinderella 127-121-111-108-89-80-67-63-42-
In the enchanting ball, Cinderella captivated the prince with her beauty, drawing the attention of all the guests The palace was alive with music, as musicians played enchanting melodies that filled the ballroom Amidst the festivities, Cinderella's ugly sisters watched with envy, unable to grasp the charm that surrounded her The prince, mesmerized by Cinderella, sought her out among the crowd, creating a magical moment that would change their lives forever.
80-67-63-42-39-18-16 anaphoric the (time) exophoric she 145 Cinderella 148-145-140-130-121-111-108-89-
80-67-63-42-39-18-16 anaphoric the(1 st stroke) exophoric she 145 Cinderella 150-145-140-130-121-111-108-89-
80-67-63-42-39-18-16 anaphoric the (prince) 138 prince 150-138-132-28-20-19 anaphoric the (ball room) 134 ball room 151-134 anaphoric the (steps) 132 steps 152-132 anaphoric her 145 Cinderella 153-145-140-130-121-111-108-89-
It 152 one shoe 154-152 anaphoric the (prince) 138 prince 155-138-132-28-20-19 anaphoric the (crowd) exophoric her 145 Cinderella 156-145-140-130-121-111-108-89-
In a grand palace, a prince searches for the owner of a magical glass shoe The only person who fits the shoe is a lady, who is revealed to be the one he desires The next day, the prince sends his servants to find her, determined to identify the lady who captured his heart As the story unfolds, the prince's quest leads him through the shadows of the courtyard, highlighting the significance of the glass shoe in their fateful encounter Ultimately, the prince's love for the lady transcends all obstacles, culminating in a romantic reunion that changes their lives forever.
In the story, the glass shoe symbolizes the connection between the prince and the Ugly Sisters, who are vying for his attention The Ugly Sisters, characterized by their envy, attempt to fit into the shoe, but only one ugly sister is highlighted as she struggles with the fit This sister's foot, along with the other sister's attempts, underscores their desperation and rivalry Ultimately, the narrative emphasizes the themes of identity and transformation, as the prince's choice reveals the true character of each sister.
187-186 anaphoric the 183 glass shoe 187-183-176-170-163-152-119 anaphoric she 187 sister 188-187-186 anaphoric you 189 Cinderella 190-189-156-145-140-130-121-111-
108-89-80-67-63-42-39-18-16 anaphoric the 178 ugly sisters 190-178-166-144-50-25-18-17-6 anaphoric you 189 Cinderella 190-189-156-145-140-130-121-111-
108-89-80-67-63-42-39-18-16 anaphoric the (ball) 127 ball 191-127-113-70-43-26-23 anaphoric her 189 Cinderella 192-189-156-145-140-130-121-111-
108-89-80-67-63-42-39-18-16 anaphoric the (glass shoe) 187 glass shoe 192-187-183-176-170-163-152-119 anaphoric it 192 glass shoe 193-192-187-183-176-170-163-152-
108-89-80-67-63-42-39-18-16 anaphoric moment) the (godmother) 65 godmother 195-65-64-62 anaphoric her 65 godmother 196-65-64-62 anaphoric her 189 Cinderella 197-189-156-145-140-130-121-111-
(Cinderella) exophoric the 174 prince 199-173-163-155-138-132-28-20-19 anaphoric him 199 prince 200-199-174-173-155-138-132-28-