![]() ![]() There is no novelistic reporting clause such as ‘said the poet’. Simpson’s PROCESS is absent but understood, owing to considerations of form. There is a speaking voice in the sonnet, an ‘I’ or a ‘me’, whose presence is most noticeable in lines 1-2, 5 (‘O no’), and 13-14 on a discourse level, therefore, the sonnet in its entirety could be understood as a mental externalised process in which the SAYER is the I/me of the poem, the VERBIAGE is the text of the sonnet, and the TARGET is the reader/audience (Simpson, 1993: 90). The poem consists of a mixture of different transitivity types. Which type of process is dominant in the poem, or does the poem mix different types? ![]() ![]() Love alters not with his brief hours and weeks,īut bears it out even to the edge of doom. Within his bending sickle’s compass come Love’s not Time’s fool, though rosy lips and cheeks Whose worth’s unknown, although his height be taken. That looks on tempests and is never shaken I’ve reproduced below Sonnet 116 in full…and you might remember Marianne (Kate Winslet) reciting part of it after she’s been heartlessly dumped by Willoughby (Greg Wise) in Ang Lee’s Sense and Sensibility: The examples of each process are taken from John Braine’s Room at the Top, but these are examples I’ve picked out myself, so please be wary: I’m not altogether sure I’ve really understood the difference between an attributive and an identifying process, so best treat the examples with caution. If you’d like to browse some original sources, you’ll need to look up Michael Halliday and read his work. You might have to zoom in on the pdf to make parts of it legible. This post is probably not going to be particularly readable unless you’re familiar with transitivity patterns – however, I’ve uploaded a pdf of a mindmap I made which may help. What follows is my answer to an exercise on transitivity patterns for the MA Literary Linguistics programme on which I’m enrolled. ![]()
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