Prepositional Phrases and Relative Clauses As Noun Post-Modifiers in Doyle’S Silver Blaze and the Adventure of the Sussex Vampire: Their Patterns and Effects
PREPOSITIONAL PHRASES AND RELATIVE CLAUSES AS NOUN POST-MODIFIERS IN DOYLE’S SILVER BLAZE AND THE ADVENTURE OF THE SUSSEX VAMPIRE: THEIR PATTERNS AND EFFECTS
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters
By
SIEGFRIEDA ALBERTI SHINTA MURSITA PUTRI
Student Number: 03 4214 011
ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2007 i ii iii Something is bad because we think it will be bad... It is better to hear and think something bad... But success will fly away... Something is great because we think it will be the greatest... It is hard to hear and think something good... And success is in your hands... (A paraphrase from David J. Schwartz)
Luck doesn·t last forever, because it doesn·t depend on you. We create our Good Fortune, that·s why it lasts forever.
Many people want Good Fortune, But only few who give effort to achieve it.
(Alex Rovira and Fernando Trias de Bes)
Let your hope keep you joyful, Be patient in your troubles, And pray at all times. (Romans 12:12)
iv For the glory of my Jesus in HIS kingdom,
For my great parents, Tatik & Mursito,
For my beloved sisters, Vita & Olla,
For my lovely friends and for my boyfriend, Bayu,
For my favorite actor: Orlando Bloom
And for Sanata Dharma University.
v ACKNOWLEDGEMENTS
I would like to thank people who have been supporting me in doing this thesis.
I am deeply thankful to JESUS CHRIST who has always been my Companion especially in hard times during my study and during my thesis writing, for HIS protection and light which has led my way into a wonderful one.
I give thanks to my advisor, Dr. Fr. B. Alip, M. Pd., M. A., who has guided me in thesis writing since Writing VI class and been helpful in giving counsel for me in finishing this thesis, and to J. Harris H. Setiajid, S. S., M. Hum. as my co- advisor, who has given several essential inputs for this thesis.
My deep grateful thanks go to my beloved dad and mom: Papa Brewok
Ignatius Mursito and Tacik eNdut Laurentia Hertatik, who are always being patient and praying for my success and giving their best effort for my future. To my sisters Elfrieda Ignatine YaninaVITA M. P. Jelitheng and KarOLLA
Leonarda Maria M. P. Prego, who always care about me.
I give special thanks to mbak Ninik and to English Letters Teaching Staff, who have been my friends and co-parents and give me guidance in developing my skills. And also to mbak Dewo, mas Nur, mas Paryo, mas Moko, mbak Alice,
Ika Ernawati and EEC Teaching Staff, who have been my friends in my part- time job.
My special thanks also goes to my best friends who are always a friend in need: Prita, Ajeng, Tyas, Renzzie, Widhy, Yeri, Jhony, Danang, Hana,
Ronald, Jonathan, Cindy, Toi-toi and friends in academic year of 2003;
Tartuffified People in ‘TARTUFFE’: Gideon, Poppy, Lusi, mas Dhika, Tiara, vi Danik, Ocha, Yabes and NitNot, mas Teguh, mas Sunu, mas Inyong, mas
Jody and mas Galang; Dahlia Girls in my boarding house: Adin, Devie, Emy,
Wina, Rika, mbak Ana and mbak Ncil; confused and puzzled friends in internship: Ika, Gracia and Putri; friends in YaPoRa: mas Kusen, mbak Sani,
Judith, Isabel, mas Yusup, mbak Ninol, mbak Tri, mas Muklas, mas Yosi, mas item, mas Hersum and Boedi; String Movie Crews: Seny, Uke, Rizky,
Tony, Edward and Nanang; my basketball teammate: Oning, Evie, Tien, Pippi,
Astu, Astri, Ajenx, Topa, Ale, NyoNyo, Nyoman and Vicky; and my boyfriend’s friends: mas Heri Gondez, mas I’is, Simbah, and mas Tri J’ndol.
They all have given me great memories, motivation, spirit and I learn a lot from our friendship.
Thanks also to my favorite actors and musicians Orlando Bloom, Takuya
Kimura and Backstreet Boys, who always decorate my desktop background to spirit me.
Special thanks to Bayu Widhi Astono, who has been my friend, my support and motivation. May JESUS always be with him. Dangsinul saranghee yo. ^_^
Siegfrieda Alberti Shinta M. P.
vii TABLE OF CONTENTS
TITLE PAGE ...... i APPROVAL PAGE ...... ii ACCEPTANCE PAGE ...... iii MOTTO PAGE ...... iv DEDICATION PAGE ...... v ACKNOWLEDGEMENTS ...... vi TABLE OF CONTENTS ...... viii ABSTRACT ...... xi ABSTRAK ...... xii
CHAPTER I: INTRODUCTION ...... 1 A. Background of the Study ...... 1 B. Problem Formulation ...... 5 C. Objectives of the Study ...... 5 D. Benefit of the Study ...... 5 E. Definition of Terms ...... 6
CHAPTER II: REVIEW OF LITERATURE A. Review of Related Studies ...... 8 1. A Study of English Relative Clauses in Edgar Allan Poe’s The Murders in the Rue Morgue ...... 8 2. Conan Doyle’s Works Readability ...... 9 B. Review of Related Theories ...... 13 1. Complex Noun Phrase ...... 13 a. Head ...... 14 b. The Pre-modifier ...... 14 c. The Post-modifier ...... 15 2. The Explicitness of Post-modification ...... 16 3. Prepositional Phrase as Post-modifier...... 17 4. Relative Clauses ...... 20 a. Non-Finite Relative Clauses ...... 21 i) –ing Relative Clauses ...... 21 ii) –ed Relative Clauses ...... 22 iii) to- infinitive Relative Clauses ...... 22 b. Finite Relative Clauses ...... 23 c. Restrictive Relative Clauses ...... 23 d. Non-Restrictive Relative Clauses ...... 24 5. The Effects of Prepositional Phrase and Relative Clauses as Post-modifier ...... 24 a. Giving more Distinctive Explanation about an Object ... 25 b. Avoiding Discontinuity and Ambiguity ...... 25 c. Maximizing the Explicitness ...... 26 d. Supplying Essential and or Additional Information ...... 27 viii 6. Patterns of the Formula and Rules in Writing Detective Stories ...... 27 a. Situation ...... 27 b. Pattern of Action ...... 28 c. Characters and Relationships ...... 28 d. Setting ...... 28 C. Review of Silver Blaze and The Adventure of the Sussex Vampire 30 1. Silver Blaze ...... 30 2. The Adventure of the Sussex Vampire ...... 30 D. Theoretical Framework ...... 31
CHAPTER III: METHODOLOGY A. Object of the Study ...... 33 B. Method of the Study ...... 35 1. Kind of Research ...... 35 2. Data Collection ...... 36 3. Data Analysis ...... 36 a. Identifying the Prepositional Phrases and Relative Clauses 37 i) Analyze the Patterns ...... 37 ii) The Proportion of Prepositional Phrases and Relative Clauses in Silver Blaze and The Adventure of the Sussex Vampire …...... 38 b. Finding the Effects by the use of Prepositional Phrases and Relative Clauses as Post-modifier …...... 38
CHAPTER IV: ANALYSIS A. The Proportion of Prepositional Phrases and Relative Clauses in Silver Blaze and The Adventure of the Sussex Vampire ...... 40 1. Noun Phrase Post-modified by Prepositional Phrase ...... 42 a. Noun Phrase + prepositional phrase ...... 43 b. (Noun Phrase + prepositional phrase) modified by relative clause ...... 44 c. (Noun Phrase + prepositional phrase) modified by relative clause with (noun phrase + prepositional phrase) in it ...... 47 d. (Noun Phrase + preposition) modifying (noun phrase + prepositional phrase) ...... 50 e. ((Noun Phrase + prepositional phrase) + preposition) modified by (noun phrase + prepositional phrase) ...... 52 f. Noun Phrase post-modified by coordinated prepositional phrases...... 53 2. Noun Phrase Post-modified by Relative Clause ...... 54 a. Noun Phrase + relative clause ...... 55 b. Noun Phrase modified by relative clause with NP + PP in it ...... 56
ix c. Noun Phrase + relative clause with another noun phrase + relative clause ...... 59 3. The Proportion ...... 61 B. The Effects Achieved by the use of Prepositional Phrases and Relative Clauses as Post-modifier ...... 65 1. Giving more distinctive or specific or descriptive explanation about an object so that it limits to certain extent 66 2. Avoiding discontinuity or ambiguity ...... 66 3. Maximizing the explicitness ...... 67 4. Supplying essential and or additional information ...... 67
CHAPTER V: CONCLUSION …...... 72
BIBLIOGRAPHY …...... 75
APPENDICES Appendix 1 Noun Phrases with Prepositional Phrases and Relative Clauses as Post-Modifier in Silver Blaze ...... 77 Appendix 2 Noun Phrases with Prepositional Phrases and Relative Clauses as Post-Modifier in The Adventure of the Sussex Vampire ..... 94
x ABSTRACT
SIEGFRIEDA ALBERTI SHINTA MURSITA PUTRI. Prepositional Phrases and Relative Clauses as Noun Post-Modifiers in Doyle’s Silver Blaze and The Adventure Of The Sussex Vampire: Their Patterns and Effects. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2007.
The noun phrase is one of the commonest phrases used in a writing. It is composed of three parts: head, pre-modifier and post-modifier. Noun phrase may have a minimal or complex form: the head itself can stand alone as the noun phrase or the head is modified by some modifiers. As a result, the sentence might be boring or too difficult to follow as it has simple or complex structure. Modifiers can give clearer object from the noun modified. Therefore, it is considered that if a noun phrase has more modifiers it will give clearer object. Two modifiers in noun phrases are: pre-modifier and post-modifier. Post-modifier occurs after the head. The major post-modifiers are relative clauses, non-finite clauses and prepositional phrases. Those modifiers can give descriptive explanation of the situation, crime and object, which is obligatory in creating a detective story. One author who writes a detective story is Sir Arthur Conan Doyle. In Silver Blaze and The Adventure of the Sussex Vampire Doyle showed his ability in creating stories using complex noun phrases. This thesis has two objectives. The first objective is to find out the proportion of prepositional phrases and relative clauses as post-modifier in the short stories. The second objective is to find out the effects achieved by the use of prepositional phrases and relative clauses as post-modifier in Doyle’s Silver Blaze and The Adventure of the Sussex Vampire. To achieve the two objectives, an empirical study has been conducted. First, the data were collected and then analyzed to find their patterns and effects achieved. There were more than 600 noun phrases with prepositional phrases and relative clauses as their post-modifier found in the two stories. The proportion of prepositional phrases as post-modifier is more frequent than relative clauses as post-modifier. Finite restrictive relatives clause also dominate the two short stories as they provide essential information and more explicit. The prepositional phrases and relative clauses as post-modifier that occurred showed the effects achieved by the use of such post-modifier in each pattern of action in detective stories. The effect most achieved by the use of a prepositional phrase and a relative clause as post-modifiers is to give more distinctive or specific explanation about an object so that it limits to certain extent. Besides, giving essential and additional information also dominates the stories. Those are indispensable in building detective stories because the author has to facilitate the other characters in the stories and the reader the detection process. The two other effects, avoiding discontinuity and ambiguity and maximizing the explicitness are needed in supporting the detection process in order to make the solution of the mystery is comprehensible. xi ABSTRAK
SIEGFRIEDA ALBERTI SHINTA MURSITA PUTRI. Prepositional Phrases and Relative Clauses as Noun Post-Modifiers in Doyle’s Silver Blaze and The Adventure Of The Sussex Vampire: Their Patterns and Effects. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2007.
Frasa nominal merupakan salah satu frasa yang paling sering digunakan dalam sebuah penulisan. Frasa nominal terdiri atas tiga bagian: kata utama, pre-modifier, dan post-modifier. Frasa nominal bisa mempunyai struktur yang sederhana atau kompleks: kata utama dapat berdiri sendiri sebagai frasa nominal itu sendiri atau kata utama yang dimodifikasi dengan beberapa atribut. Hasilnya, suatu kalimat bisa saja jadi membosankan atau terlalu sulit untuk dibaca karena mempunyai struktur kalimat yang sederhana atau kompleks. Atribut dapat memberikan gambaran dengan lebih jelas. Maka, dapat dikatakan bahwa jika suatu frasa nominal memiliki lebih banyak atribut akan memberikan gambaran yang lebih jelas. Dua atribut dalam frasa nominal adalah: pre-modifier dan post-modifier. Post-modifier ada setelah kata utama frasa nominal. Post-modifier yang paling sering digunakan yaitu klausa adjektiva, klausa tidak terdefinisi dan frasa preposisi. Atribut-atribut tersebut dapat memberikan penjelasan yang deskriptif mengenai situasi, kriminal dan suatu objek, yang merupakan keharusan dalam membuat cerita detektif. Salah satu penulis yang menulis cerita detektif adalah Sir Arthur Conan Doyle. Dalam karyanya Silver Blaze dan The Adventure of the Sussex Vampire Doyle menunjukkan kemampuannya dalam membangun cerita dengan frasa nominal yang kompleks. Skripsi ini memiliki dua tujuan. Tujuan yang pertama adalah mencari jumlah frasa preposisi dan klausa adjektiva sebagai post-modifier dalam kedua cerita pendek tersebut. Tujuan yang kedua adalah menemukan efek yang dicapai akibat penggunaan frasa preposisi dan klausa adjektiva sebagai post-modifier dalam karyanya Silver Blaze dan The Adventure of the Sussex Vampire. Untuk mencapai kedua tujuan tadi, penelitian ini menggunakan metoda empiris. Pertama, data dikumpulkan lalu dianalisa untuk menemukan pola-pola kalimatnya dan efek yang dicapai. Ada lebih dari 600 frasa nominal dengan frasa preposisi dan klausa adjektiva sebagai post-modifier dalam kedua cerita pendek tersebut. Jumlah frasa nominal dengan frasa preposisi sebagai post-modifier lebih banyak muncul dibandingkan dengan klausa adjektiva sebagai post-modifier. Klausa adjektiva terdefinisi dan bersifat membatasi mendominasi kedua cerita pendek tersebut karena klausa tersebut memberikan informasi yang diperlukan dan lebih eksplisit. Frasa preposisi dan klausa adjektiva sebagai post-modifier yang ada menunjukkan effek yang dicapai akibat penggunaan frasa preposisi dan klausa adjektiva sebagai post-modifier dalam setiap pola aksi dalam cerita-cerita detektif. Efek yang paling banyak dicapai dari penggunaan frasa preposisi dan klausa adjektiva sebagai post-modifier adalah memberi penjelasan yang khusus atau spesifik mengenai sebuah objek sehingga mengacu pada tingkat tertentu. Selain itu, memberikan informasi yang diperlukan dan informasi tambahan juga
xii mendominasi kedua cerita pendek tersebut. Kedua efek itu sangat diperlukan dalam menulis cerita detektif karena si penulis harus membantu karakter-karakter lain dalam cerita dan pembaca dalam proses deteksi. Dua efek lainnya, yaitu mencegah keambiguan dan memaksimalkan keeksplisitan dibutuhkan untuk mendukung proses deteksi sehingga penyelesaian misteri dalam cerita detektif tersebut dapat dipahami.
xiii CHAPTER I
INTRODUCTION
A. Background of the Study
Language is a system of arbitrary vocal symbols used for human
communication. According to Aitchison (1978:29), the use of language began
because men needed a greater degree of co-operation with each other in order to
survive. People use language to communicate each other in a society, to express
their feelings or emotions or interjection, to exchange information and to develop
interpersonal relationship. People use language not only in spoken
communication, but also in written forms, such as in newspapers, novels, poems
and drama. Authors and poets use language to express their thought and transfer
them in poems, dramas and novels.
Syntax is one of linguistic branch studies. It studies the structure of phrases
and sentences structured. Written language consists of paragraphs which are built
by sentences. Here, the role of syntax is important, in helping to understand a text
and in creating a good story. A text, whether it is easy to read or not, will be
understood if the reader has a thorough knowledge about syntax by analyzing the
structure of the elements in sentences. The understanding of syntax also will help
in creating a good story or text by combining the elements of the sentences. In
building up the good and correct sentences, phrases are significant. One phrase
which is often used in a written language is noun phrase.
1 2 A noun phrase is a phrase whose head is a noun. It may be composed of three parts: head, pre-modification, and post-modification. A noun phrase may have a minimal or complex form: the head itself can stand alone as the noun phrase or the head is modified by some modifiers. As a result, the sentence might be boring or too difficult to follow as it has simple or complex structure. According to The New
Oxford Dictionary of English, modifier is a word that restricts or adds to the sense of a head noun. Baker defines modifier as a word or construction that tells more about the thing modified (1989:233). In other words, modifiers can give clearer object from the noun modified. Therefore, if a noun phrase has more modifiers it will give clearer object.
There are two modifications in noun phrases: pre-modification and post- modification. Post-modification occurs after the head. They are relative clauses, non-finite clauses and prepositional phrases. And if it is possible adjective phrase or an adverb phrase can occur as a post-modifier in a noun phrase (Jackson,
1982:69). The most common post-modifier used are prepositional phrase and relative clause. Prepositional phrases have several main grammatical functions: as adverbial, as verb complement, as complement of an adjective and as modifier in a noun phrase (Leech and Svartvik, 1994:351-352). Unlike prepositional phrase, relative clause has only one main grammatical function, it is to modify a noun phrase (Leech and Svartvik, 1994:367).
Prepositional phrases and relative clauses as noun post-modifiers are commonly found in detective stories. According to Cawelti, detective stories need more descriptive information in order to create the situation, build the characters 3 involved and elucidate its unsolved mystery. (Cawelti, 1976:80-97). Therefore, clear explanation of an object is obligatory in creating a detective story, as the reader has to imagine the object and the situation by themselves. It is to make the whole story is comprehensible. As a result, authors have to use many noun modifiers in giving vivid explanation of an object to avoid ambiguity. One author who writes detective stories is Sir Arthur Conan Doyle, whose creation is the eccentric Sherlock Holmes.
Doyle’s short stories of Sherlock Holmes are collected into five volumes: The
Adventure of Sherlock Holmes, The Memoirs of Sherlock Holmes, The Return of
Sherlock Holmes, His Last Bow and The Case-Book of Sherlock Holmes.
(www.sherlockian.net – 12 March 2006). There are also novels about Sherlock
Holmes excluded from those volumes, but stand as novels. They are A Study in
Scarlet, The Sign of Four, The Hound of Baskervilles and The Valley of Fear.
In Sir Arthur Conan Doyle Biography (http://www.sherlockholmesonline.org/ biography – 2 March 2006), it is revealed that Arthur Ignatius Conan Doyle was born on 22 May 1859, in Edinburgh, Scotland, from Charles Altamont Doyle and
Mary Foley. After seven years studying in a Jesuit boarding school, in 1876 Doyle decided to become a medical doctor and was enrolled at Edinburgh University.
Doyle received his Bachelor of Medicine in 1881. In 1883 Doyle published his first story and in 1884 he began his first novel. The fact is that his medical degree was not successful enough, on the other hand his writing did much better and in
1891 he gave up medicine. Even, Sherlock Holmes, his creation, is more famous than its creator. At that year, the first stories of Adventure of Sherlock Holmes 4 began to appear in Strand Magazine. After Doyle killed the main character,
Sherlock Holmes, in The Final Problem – the last story of The Memoirs of
Sherlock Holmes, twenty thousand readers cancelled their subscription to The
Strand Magazine. Therefore Doyle resurrected Holmes in the next story. In 1929,
Doyle was diagnosed with Angina pectoris and he died on 7 July 1930 surrounded by his family.
Doyle has a certain characteristic in writing. He is able to combine compound and complex sentences in one sentence. It means that he used more than one phrases in a sentence. This complex structure of noun phrases might lead to difficulty in reading his works. The examples of his complex noun phrase can be found in Silver Blaze and The Adventure of the Sussex Vampire. Those two stories are chosen to see how prepositional phrase and relative clause as post-modifier influence the readability in those two stories. Silver Blaze is taken from volumes whose reading ease score is the lowest and The Adventure of the Sussex Vampire is taken from volumes whose reading ease score is the highest (Pasquale Accardo, as quoted by L. J. Hurst in “How Readable is Science Fiction”).
This study aims to find the proportion of noun phrases with prepositional phrase and relative clause as post-modifier in those two stories and to find what effects achieved by the use of the prepositional phrase and relative clause as post- modifier in detective stories. 5 B. Problem Formulation
In discussing the use of noun phrases in the two short stories, this study tries to answer these questions:
1. What is the proportion of prepositional phrase post-modification and that with
relative clause in Doyle’s Silver Blaze and The Adventure of the Sussex
Vampire?
2. What are the effects achieved by the use of those prepositional phrase and
relative clause as post-modifier in the two stories?
C. Objectives of the Study
Based on the problems aforementioned, this study has two objectives. They
are to identify the proportion of noun phrases with prepositional phrase and
relative clause post-modification in Silver Blaze and in The Adventure of the
Sussex Vampire. After that, based on the findings, the writer will find out the
effects achieved by the use of prepositional phrases and relative clauses as post
modifier in Doyle’s work.
D. Benefits of the Study
This study is expected to have some benefits. The first is to help people reading Doyle’s works considering that Doyle’s style is difficult to follow. This leads to have an understanding why Doyle used such post-modifier in his works.
The second is to help English learners in analyzing relative clauses and prepositional phrases as post-modifier and to find the effects from the use 6 prepositional phrase and relative clause as post-modifier in detective stories.
Besides, this study also shows the significance of language, in this case prepositional phrase and relative clause, in building detective stories.
E. Definition of Terms
In discussing the problems, there are some terms used. They are as follows:
1. Noun Phrase
Jackson defined noun phrase as a phrase which has a noun as its head
(1982:66). Leech and Svartvik stated that a noun phrase is called a noun phrase
because the word which is its head (i.e. main part) is typically a noun (1994:315).
Examples of noun phrases are that old CAR in the drive and the MAN whose car
was stolen. Detailed definition of noun phrase will be discussed in the next
chapter.
2. Post-modifier
Greenbaum and Quirk stated post-modifier is one element of three elements in
noun phrase. Post-modification is defined as all modifiers placed after the head
(1997:363-364). In that old CAR in the drive, CAR, which is the head, is
modified by post-modifier in the drive. While in the MAN whose car was stolen,
the post-modifier is whose car was stolen, it modifies MAN.
3. Relative Clause
Relative clause is a full clause, one of whose members consists of a relative
pronoun as head, which refers back to the head noun of the noun phrases. This is
when relative clause functions as a post-modifier. For example, in the noun 7 phrase the MAN who came here yesterday, the relative clause is who came here yesterday, who is the relative pronoun which refers back to MAN, which is the head (Jackson, 1982:69).
4. Prepositional Phrase
Leech and Svartvik state that prepositional phrase consists of a preposition followed by a prepositional complement (1994:351). Example of prepositional phrase as post-modifier is the MAN in the queue on the boat, where in the queue on the boat is post-modifier of MAN, and on the boat is post-modifier of queue.
5. Modifiers
According to Baker in English Syntax modifier is a word or a construction that tells more about the thing modified (1989:233). Jackson in Grammar and
Meaning mentioned that the class of items which realise meanings associated with the classification and description of participants is called modifiers (1990:125).
One example is Gregory knows a pianist who lives in Boston, where a pianist denotes the entire sets and is restricted by modifier who lives in Boston. Therefore, modifier who lives in Boston gives more information about a pianist, furthermore, it restricts to a more specific thing.
6. Classical Detective Story
The classical detective story was first articulated by Edgar Allan Poe in the
1840s and its popularity was initiated by the enormous success of Conan Doyle’s
Sherlock Holmes stories (Cawelti, 1976:80). The formula of this kind of detective story is different from hard-boiled detective story, which was emerged in the early
1920s. CHAPTER II
REVIEW OF LITERATURE
Chapter II contains four parts, Review of Related Studies, Review of Related
Theories, Review of Silver Blaze and The Adventure of the Sussex Vampire and
Theoretical Framework. Review of Related Studies presents previous studies about relative clauses and readability on Doyle’s work. Review of Related
Theories presents some theories which are applied in the analysis. Review of
Silver Blaze and The Adventure of the Sussex Vampire presents the information about the two stories. The last part is Theoretical Framework, which will cover the importance of the theories mentioned in answering the problem formulations. This study aims to find the effects achieved by the use of prepositional phrase and relative clause as a post-modifier in his works.
A. Review of Related Studies
1. A Study of English Relative Clauses in Edgar Allan Poe’s The Murders in
the Rue Morgue
Prasthiwi analyzed the use of relative clause in a detective story: The Murders in the Rue Morgue by Edgar Allan Poe (thesis, 2006). The problems discussed are: (1) What types of relative clause are used in The Murders in the Rue Morgue? and (2) What are the functions of relative clauses in the story? The method she used was collecting data and analyzing them.
8 9 Referring to the first problem, she mentioned the proportion of relative clauses in the story which are as shown in the table 2.1. And in table 2.2 she shows the proportion of restrictive and non-restrictive relative clauses:
No. Relative Clause Occurrence Percentage 1. Restrictive relative clauses 129 67.18% 2. Non-restrictive relative clauses 63 32.82% 3. Sentential relative clause 0 0 Table 2.1 Proportion of Relative Clause in Edgar Allan Poe’s The Murders in the Rue Morgue (Prasthiwi’s Thesis, 2006)
No. Relative Clause Occurrence Percentage 4. Finite restrictive relative clauses 93 47.45% 5. Non-finite restrictive relative clauses 36 18.37% 6. Finite non-restrictive relative clauses 44 22.45% 7. Non-finite non-restrictive relative clauses 19 9.69% 8. Zero relative clauses 4 2.04% Table 2.2 Proportion of Restrictive and non-Restrictive Relative Clauses in Edgar Allan Poe’s The Murders in the Rue Morgue (Prasthiwi’s Thesis, 2006)
The second problem was about the functions of the relative clauses in the story. Edgar Allan Poe uses more restrictive relative clauses than non-restrictive relative clauses in the story. The occurrences of these types of relative clause are significant in building a detective story. It provides detailed information, serve additional information, and combine ideas.
2. Conan Doyle’s Works Readability
Pasquale Accardo, as quoted by L. J. Hurst in “How Readable is Science
Fiction” (http://www.rbd26.dial.pipex.com/readable.htm - 24 September 2006), gives an analysis of all the Sherlock Holmes stories and novels in his book
Diagnosis and Detection (1987, Associated University Press). The results of the readability of Sherlock Holmes stories are as seen in table 2.3: 10
SL SYLL RE The Speckled Band 15.4 131.4 76 Silver Blaze 24.0 145.8 57 Wisteria Lodge 11.6 133.8 80 Hound of the Baskervilles 15.4 135.0 74 average for the canon, 15.1 137.0 73.1 Table 2.3 Readability of Sherlock Holmes Stories Source: http://www.rbd26.dial. pipex.com/readable.htm
Accardo also gives the readability averages for the five collections of Sherlock
Holmes stories. The results are as seen in table 2.4:
SL SYLL RE Memoirs 17.1 137.3 70.8 Casebook 12.2 134.4 78.1 Table 2.4 Readability of Two Volumes of Sherlock Holmes Stories Source: http://www.rbd26.dial. pipex.com/readable.htm
The Memoirs of Sherlock Holmes, the second volume, has the lowest average.
This means that this volume is quite difficult to read. While The Case-book of
Sherlock Holmes, the last volume, has the highest average. This means that the volume is quite easy to read. Therefore, if see the average of the canon as seen in table 2.4, it will be supposed that the stories of Sherlock Holmes by Conan Doyle are considered not very easy to read.
In general, based on article “Caslon Analytics Profile: online readability”
(http://www.caslon.com.au/ readabilityprofile1 - 5 October 2006), readability is the ability of a text to be read. There are three formulas to indicate the readability of a text. They are US FORCAST, Gunning Fox Index and Flesch & Flesch-
Kincaid Measures. The writer will only cite about the Flesch formula. Two of the four of its principles are: 11 a. The more syllables in a word, the harder it is to read and understand that word. b. The more words in a sentence, the harder it is to read and understand.
From those principles, it means the word establish is easier to understand than antidisestablishmentarianism since establish has three syllables and the latter has twelve syllables. Then a sentence like I want to eat a salmon will be easier to understand than There was but one problem before the public which could challenge his powers of analysis, and that was the singular disappearance of the favourite for the Wessex Cup, and the tragic murder of its trainer since the first sentence has six words and the latter contains more than ten words.
“Caslon Analytics Profile: online readability” (http://www.caslon.com.au/ readabilityprofile1 - 5 October 2006) explains about readability. Readability embraces four points, they are: a. Content
Content covers interest and conceptual density. Keith Rayner & Alexander
Pollatsek note in The Psychology of Reading that users will read at a higher level than normal if interested in the subject matter. Conceptual density means too many new concepts or excessive condensation tend to frighten readers. A text with too many new concepts or too much description will bore the reader. As a result, the readability of the text will be low. b. Expressions
Plain English is easier to read than baroque expression. Sentence length and redundancy also influence the readability of a text. Long sentences in a text, will 12 bore the reader. Short sentences and reinforcement of ideas help people to read at higher levels. c. Layout
Crisp sentences, short paragraphs and subheadings are helpful in scanning. As a result, the readability will be high, which means easy to read. d. Typography
Empirical studies suggest that some fonts are easier to read than others. There are some fonts which are difficult to read, this causes the reader will not interested to read the text.
As aforementioned, the readability of a text can be easily calculated with a formula. Flesch calculated Ease of Reading with the formula as follows:
RE = 206.835 – (SYLL x 0.846) – (SL x 1.015)
SYLL = the number of syllables per 100 words of the text
SL = the average sentence length (of words in the text divided by
number of full stops)
The result will give a number on the scale from 0 to 100. Less than 30 is considered difficult to read, and more than 90 is considered very easy to read. For example, the average Reading Ease score for comic strips is around 90 which means very easy to read. The score for non-specialist legal journals are around 30, which means they are difficult to read. Standard insurance policies and some of the wilder deconstructionist journals are considered very difficult to read since the
Reading Ease score are 15 and 10. 13 B. Review of Related Theories
1. Complex Noun Phrase
A noun phrase is called a noun phrase because the word which is its main part is a noun (Leech and Svartvik, 1994:315). A sentence may be complex, and so may the noun phrase. Greenbaum and Quirk in A Student’s Grammar of the
English Language give an example a simple sentence with a very complex noun phrase as subject (1997:363) in (1):
(1) That tall GIRL standing in the corner who became angry because you
waved to her when you entered is Angela Hunt.
The sentence is easy to understand if the subject is parsed as in (2a) – (2e):
(2a) That girl is Angela Hunt.
(2b) That girl is tall.
(2c) That girl was standing in the corner.
(2d) You waved to that girl when you entered.
(2e) That girl became angry because you waved to her.
(Greenbaum and Quirk, 1997:363)
It is hard to understand the noun phrase subject of (1) unless we can recognize its component parts as set out in (2).
In describing complex noun phrases, Greenbaum and Quirk (1997:363-364) distinguished three components: the head, the pre-modifier and the post-modifier. 14 a. Head
The head is around which the other components cluster and which dictates concord and other kinds of congruence with the rest of the sentence outside the noun phrase (Greenbaum and Quirk, 1997:363). According to Jackson in
Analyzing English, the head is obligatory. The head is the minimal requirement for the occurrence of a noun phrase. The head of a noun phrase is a noun, and may be a pronoun and personal pronoun. Because the other two parts, pre-modifier and post-modifier, are optionally occurring, it is possible that there is a minimal noun phrase, which consists of a noun itself as the head without any other elements
(1982:66). For example, car, Sherlock Holmes and he are minimal noun phrases, because they consist of a noun as the head without any other modifiers.
b. The pre-modifier
Pre-modifiers are all items placed before the head (Greenbaum and Quirk,
1997:364). According to Jackson (1982:67), a pre-modification consists of a number of word classes or sub-classes in a specific order: identifier – numeral or quantifier – adjective – noun modifier. The identifiers include articles (a, the), demonstratives (this, that) and possessives (my, your, his, etc.). Numeral and quantifier that occurs in noun phrase are function as an attribute or as specifiers.
Greenbaum and Quirk (1997:383) give some pre-modifying items, they are adjective, participle, -s genitive, noun, adverbial and sentence. Those are seen in order as below
(3) I visited his delightful COTTAGE. 15 (4) I visited his completed COTTAGE.
(5) I visited his fisherman’s COTTAGE.
(6) I visited his country COTTAGE.
(7) I visited his far-away COTTAGE.
(8) I visited his pop-down-for-the-weekend COTTAGE.
(Greenbaum and Quirk, 1997:383)
c. The post-modifier
The last element of noun phrase is post-modification. Post-modification are all items placed after the head. Greenbaum and Quirk (1997:364) mentioned three major post-modifiers. They are prepositional phrases, non-finite clauses and relative clauses. Prepositional phrase and relative clause will be explained further in points three and four of this chapter. There are also minor types of post- modification, they are adverb phrases, postposed adjectives and postposed ‘mode’ qualifiers (1997:379). Examples of minor types of post-modification are below
(9) The ROAD back was dense with traffic.
(10) SOMETHING strange happened last night.
(11) LOBSTER Newburg is difficult to prepare.
(Greenbaum and Quirk, 1997:379)
Post-modification can be restrictive or non-restrictive. It is restrictive when the head can be viewed as a member of a class which is linguistically identified only through the modification. It is non-restrictive when the head can be viewed as a member of a class that has been independently identified. Thus it makes any 16 modification given is additional information and not essential (Greenbaum and
Quirk, 1997:364). The difference can be seen from the examples below:
(12) The BOY who is playing the piano is Josh Groban.
(13) He got lost on SNOWDON, which he was exploring.
From the examples, (12) is restrictive whereas (13) is non-restrictive.
Having seen the explanation about the elements of complex noun phrase, therefore in (14)
(14) That tall GIRL standing in the corner
It is obvious that that tall is pre-modifier, GIRL is the head and standing in the corner is post-modifier. Then the post-modifier in (14) is restrictive.
2. The Explicitness of Post-modification
Quirk et al. in A Comprehensive Grammar of the English Language stated that pre-modification is to be interpreted, and, most frequently, can only be interpreted in terms of post-modification and its greater explicitness. That is, some tall college girls will be interpreted as some girls who are tall and who are (studying) at a college (Quirk et al., 1985:1243). Generally, more distinction can be made in post-modification than in pre-modification (Quirk et al., 1985:1276). Therefore, post-modifiers are more descriptive or more explicit in giving information.
Explicitness in post-modification varies considerably. It is greater in the finite relative clause in (15):
(15) The GIRL who was standing in the corner
Than in the non-finite –ing clause in (16): 17 (16) The GIRL standing in the corner
In (16) the explicit tense (is/was) had disappeared, while in (15) the tense is clearly stated and makes the sentence is clearer showing whether the girl is standing or was standing. However, (16) is more explicit than the prepositional phrase in (17):
(17) The GIRL in the corner
(Quirk et al., 1985:1243)
In (17) the verb which indicates a specific action has also disappeared. This can create ambiguity, whether the girl was standing in the corner or was chatting in the corner. From the explanation above it is easier and clearer to understand noun phrase post-modified by finite relative clauses.
3. Prepositional Phrase as Post-modifier
Leech and Svartvik (1994:351) state that prepositional phrase consists of a preposition followed by a prepositional complement, which is usually a noun phrase as seen below:
(18) As usual, her bright SMILE greeted me at the breakfast table
(Leech and Svartvik, 1994:351)
In (18) the head SMILE is modified by prepositional phrase at the breakfast table.
The prepositional phrase at the breakfast table can be split into preposition at and a prepositional complement the breakfast table, which is a noun phrase. The prepositional complement can be another element: a wh- clause (She came from what she called ‘a small farm’ of two hundred acres), an –ing clause (Warren 18 tried to shake off his fears by looking at the sky) and an adverb (You can see the station from here) (Leech and Svartvik, 1994:351).
A prepositional phrase has several grammatical functions. One of its functions is as a modifier in a noun phrase (Leech and Svartvik, 1994:351-352). This is seen from the examples:
(19) She felt she had no CHANCE of promotion.
(20) The NOISE from the sitting-room was deafening but tuneful.
(Leech and Svartvik, 1994:352)
The head of the noun phrase in (19), CHANCE, is modified by prepositional phrase of promotion and in (20) NOISE is modified by prepositional phrase from the sitting-room.
Leech and Svartvik (1994:345) also stated that prepositional phrases are by far the most common type of post-modifier in English. Quirk et al. (1972:883) stated it is three or four times more frequent than either finite or nonfinite clausal post- modification. Aarts and Aarts (1982:114) mentioned some examples noun phrases post-modified by a prepositional phrase as seen below
(21) the CITY of Rome
(22) a HOUSE of my father’s
(23) the RESTAURANT opposite Harrods
(24) SPECULATIONS about how he acquired his fortune
(Aarts and Aarts, 1982:114)
Prepositional phrases can be often expanded to relative clauses as seen in these examples: 19 (25) Is this the ROAD to Paris? (‘Is this the ROAD that leads to Paris?’)
(26) These are economic ACTIONS far beyond the normal citizen’s control.
(‘… ACTIONS which are far beyond …’)
(Leech and Svartvik, 1994:345)
(27) The MAN in the corner. (‘The MAN who is in the corner’)
(Greenbaum and Quirk, 1997:375)
In other words, a prepositional phrase is the shorter type of relative clause.
Flor Aarts and Jan Aarts (1982:114) stated that a noun phrase may contain two or more prepositional phrases as seen below:
(28) The BOOK on archaeology by Professor Smith
(29) The HOUSE at the corner of the street
(Aarts and Aarts, 1982:114)
Unfortunately, those examples do not have the same syntactic structure. In
(28) the second prepositional phrase modifies all that precedes:
(30) The BOOK on archaeology by Professor Smith
In this case, by Professor Smith modifies the BOOK on archeology. Whereas in (29) the second prepositional phrase modifies only the first NP:
(31) The HOUSE at the corner of the street
(Aarts and Aarts, 1982:114-115)
In this case, of the street only modifies the corner. 20 Prepositional clauses can be restrictive or nonrestrictive. The difference is seen from the examples below:
(32) The BOOK on grammar
(33) The BOOK, on grammar,
(Quirk et al., 1972:890-891)
In (32) the prepositional phrase is restrictive, whereas in (33) is non- restrictive. It is worth noting that (33), non-restrictive prepositional phrase, is rare and rather awkward (Quirk et al., 1972:890-891).
4. Relative Clause
A relative clause is a full clause which is introduced by a relative pronoun which refers back to the head of the noun phrase in which it occurs as a post- modifier (Jackson, 1982:69). Relative clauses are typically found after a noun phrase and provide some information about the person or thing indicated by that noun phrase. Relative clauses are also called as adjective clauses because they often describe and help to identify the person or thing being talked about (Yule,
2004:240).
The main grammatical function of relative clause is to modify a noun phrase.
The example is as follows
(34) They read every BOOK that they could borrow in the village
(Leech and Svartvik, 1994:367) 21 In (34) the relative pronoun is that and the relative clause is that they could borrow in the village. The relative pronoun that refers to the head of the noun phrase, book, which is called the antecedent (Leech and Svartvik, 1994:367).
It is possible to have the construction of relative pronoun acts as prepositional complement as the following example
(35) Maurice wrote me a LETTER in which he said: ‘I’m not interested in
how long a bee can live in a vacuum or how far it can fly’
(Leech and Svartvik, 1994:369)
Relative clause can be finite or non-finite, and can be restrictive and non- restrictive. The points below will explain more about relative clause. a. Non-Finite Relative Clause
There are three types of non-finite relative clauses. The three types are: -ing relative clause, -ed relative clause and to- infinitive relative clause. They can function as post-modifier similar to relative clauses and have the same meaning as the finite relative clause. Unfortunately, non-finite relative clause is not as explicit as the finite relative clause. i) –ing Relative Clause
This relative clause does not have tense. Therefore, the clause can be interpreted as past or present, depending on the context, as seen below
(36) PEOPLE working in the advertising business are often young.
(37) All ARTICLES belonging to the college must be returned.
(Leech and Svartvik, 1994:346) 22 In The noun phrase is interpreted as PEOPLE who are working in the advertising business. While in (37) the noun phrase is interpreted as All
ARTICLES that belong to the college. ii) –ed Relative Clause
This relative clause refers to passive. As seen in (38) and (39)
(38) The QUESTION debated in Parliament yesterday was about the new
tax. (QUESTION that was debated in Parliament)
(39) We have seen the DAMAGE to the pine done by the deer. (DAMAGE
that has been/had/was done)
(Leech and Svartvik, 1994:346) iii) to- Infinitive Relative Clause
In a suitable context, this relative clause has the same meaning as the finite relative clause, as seen in (40)
(40) The next TRAIN to arrive was from New York. (TRAIN which arrived)
In many infinitive clauses like (41), the head of the noun phrase is the implied object or prepositional object of the infinitive verb.
(41) The (best) PERSON (for John) to consult is Wilson. (The best PERSON
you should consult)
(Leech and Svartvik, 1994:346-347)
Non-finite clauses also can be non-restrictive. This is seen in (42)
(42) The apple TREE, swaying gently in the breeze, had a good crop of fruit.
(which was swaying gently in the breeze)
(Greenbaum and Quirk, 1997:374) 23 The clause can be moved into initial position without changing the meaning, but it can no longer be expanded into finite relative clause (Greenbaum and Quirk,
1997:374).
b. Finite Relative Clause
Finite relative clause is introduced by relative pronouns who/whom, whose, which, and that, and relative adverbs where, when, and why. The choice of relative pronoun depends on whether the clause is restrictive or non-restrictive, personal or non-personal and depends on what role the pronoun has in the relative clause: whether it is subject or object.
The uses of relative pronouns are given in this table:
Restrictive and non-restrictive Restrictive only Personal Non-personal Personal and non-personal Subjective who which that Objective who(m) which that, zero Genitive whose of which, whose Table 2.6 The use of relative pronoun (Leech and Svartvik, 1994:369)
c. Restrictive Relative Clause
Restrictive relative clause is defining, giving necessary information and more common. Besides, it does not role as additional comment (Yule, 2004:249). A relative clause is restrictive when the head can be viewed as a member of a class which is linguistically identified only through the modification (Greenbaum and
Quirk, 1997:364). In restrictive relative clauses, the use of that is more frequent.
See the examples below: 24 (41) The BOY that is playing the piano … (who)
(42) The TABLE that stands in the corner … (which)
(43) The BOY that we met … (who(m))
(44) The TABLE that the boy crawled under … (under which)
(Greenbaum and Quirk, 1997:368).
d. Non-Restrictive Relative Clause
Non-restrictive relative clause is non-defining, giving extra information and less common. Furthermore, it functions as additional comment (Yule, 2004:249).
Relative clause is non-restrictive when the head can be viewed as a member of a class that has been independently identified. Thus it makes any modification given is additional information and not essential (Greenbaum and Quirk,
1997:364). The distinctive elements between restrictive and non-restrictive relative clause is known as separation markers, such as commas, dashes, brackets or parentheses. The examples are below:
(45) My NEIGHBOR, who is an English teacher, plays very loud music.
(46) The MAN – whose name is Johnny Jensen – also likes to have weekend
parties.
(Yule, 2004:248)
5. The Effects of Prepositional Phrase and Relative Clause as Post-modifier
Quirk et al. stated some effects of prepositional phrase and relative clause as post-modifiers which can be seen as follows. 25 a. Giving more Distinctive Explanation about an Object
As mentioned in the explicitness of post-modification, more distinction can be made in post-modification than in pre-modification. This clarifies that the use of post-modifier will give more distinctive explanation about an object. Prepositional phrase and relative clause are the commonest type of post-modifiers. Therefore, they are also to give more distinctive explanation about an object. This can be seen in the example below:
(47) The FUNNEL of the ship
(48) The FUNNEL of a ship
(49) A FUNNEL of the ship
Phrases in (47) and (48) can be made into a noun phrase with pre-modification in a genitive construction as in (47a) and (48a). On the other hand, (49) can not be made in such construction.
(47a) The ship’s FUNNEL
(48a) A ship’s FUNNEL
(Quirk et al., 1985:1276)
This shows that post-modifiers give more distinction explanation than pre- modifier. The distinction explanation given is more descriptive and limited to a specific extent. This effect is possible to apply in multiple post-modification.
b. Avoiding Discontinuity and Ambiguity
It is possible to have multiple modifications in a noun phrase, especially in
Doyle’s work whose style shows his ability in combining complex-compound 26 sentence. Therefore, the use of post-modifier helps to avoid discontinuity and ambiguity. The examples are seen in (50) and (52) which are more normal and in
(51) and (53) which are awkward.
(50) The EARS of the man in the deckchair
(51) * The man’s EARS in the deckchair
(52) The ARRIVAL of his daughter and his German friend
(53) * His daughter’s and his German friend’s ARRIVAL
(Quirk et al., 1985:1282 and 1298)
c. Maximizing the Explicitness
This part is still related to the use of multiple modifiers. The use of post- modifiers is in response to a desire for maximal explicitness. The example can be seen in the example below.
(54a) the man talking to John
(54b) the man in the corner and the woman in the corner
(54c) the corner nearest the door
By bringing a, b, and c together, it will be
(54) [the [man and woman] [in [the corner [nearest the door]]] [talking to
John]]
(Quirk et al., 1985:1296-1297)
Although the last post-modifier in this example, the non-finite clause talking to John, is far removed from the head, it may create ambiguity that the door could not be talking to John. Therefore, the use of a finite relative clause is needed. That 27 is who are talking to John to maximize the explicitness, in this case the post- modifier which is relatively distant from the head (Quirk et al., 1985:1296-1297).
d. Supplying Essential and or Additional Information
As stated in Yohana Kuncup’s thesis relative clauses in Poe’s The Murders in the Rue Morgue function to provide detailed information and serve additional information. This is also strengthened by Yule who stated the characteristics of relative clause. As a post-modifier, relative clause function to supply essential information and to give additional information.
6. Patterns of the Formula and Rules in Writing Detective Stories
John G. Cawelti in his book Adventure, Mystery, and Romance mentioned four aspects of the detective story formula so sharply and effectively that, until the emergence of the hard-boiled story which has different pattern, detective story writers largely based their work on Poe’s inventions: situation, pattern of action, characters and relationships and setting. a. Situation
Related to the situation created, classical detective story begins with an unsolved crime and moves toward the elucidation of its mystery (Cawelti,
1976:80). Then it is considered that in elucidating process and revealing clues descriptive information are needed to make the explanation clear enough to follow. 28 b. Pattern of Action
The detective story formula centres upon the detective’s investigation and solution of the crime. There are six main phases of the pattern: (1) introduction of the detective; (b) crime and clues; (c) investigation; (d) announcement of the solution; (e) explanation of the solution; (f) denouement (Cawelti, 1976:81-82).
From this statement, it is also considered that there will be many descriptions and explanations needed in detective stories, especially in phases of crime and clues, investigation, announcement and explanation of the solution. c. Characters and Relationships
Cawelti also stated that if the reader is given too much information about the victim or the criminal only, the focus of the story around the process of investigation will be blurred (Cawelti, 1976:91). Therefore, in building detective stories sufficient description is needed and no overwriting is allowed. This aims to maintain the tenseness of the story and to focus on the process of investigation done by the detective. d. Setting
The setting in detective story performs many functions. In Poe’s stories the settings are usually isolated places and the bustling world outside like the locked room in the midst of the city, the isolated country house in the middle of the strange and frightening moors, or the lonely villa in the suburban town. This setting furnishes a limited and controlled backdrop against which the clues and suspects so central to the story can be silhouetted. In Doyle’s stories the settings are usually the rich atmospheric sketches of Baker Street and its ‘Irregulars’, the 29 London slums, and the English countryside. This setting used in classical detective story establishes a framework for the treatment of manners and local colour in a fashion, especially for the great Victorian novelists (Cawelti, 1976:96-
97). In describing such places, descriptive and distinctive explanations are needed.
There are also several set of unwritten rules in writing detective stories stated by several writers in The Ten Commandments of Detective Fiction uploaded by
Golden Age of Detective Stories (http://www.mysterylist.com/declog.htm – 23
March 2007) which strengthens the formula stated by Cawelti. The writer only took several rules which are related in this study. a. All Clues must be Revealed
Ronald Knox mentioned that all clues must be revealed as one of his rules. b. The Writer must Avoid Overwriting
Howard Haycraft stated several rules in writing detective stories, in which one of them is about its style: that writing detective stories must avoid corniness, pretentiousness and overwriting. In other word, detective stories authors are not allowed to write too elaborate and mawkishly sentimental. Haycraft also stated one rule about the devices of detection, which recommends detective story writers not to be too elaborate as it makes the denouement incomprehensible. c. There must be a Sufficient Descriptiveness
Ronald Knox also suggests detective story writers not to confuse the reader with elaborate timetables. Van Dine also suggests the same thought, that a detective novel should not contain long descriptive passages, or literary dallying with side-issues, or subtly worked-out character analyses, or ‘atmospheric’ 30 preoccupations. Those matters do not have vital places in detective fiction. In short, there must be a sufficient descriptiveness.
C. Review of Silver Blaze and The Adventure of the Sussex Vampire
1. Silver Blaze
Silver Blaze is one story in the second volume of Sherlock Holmes The
Memoirs of Sherlock Holmes. This story is set in 1888 in Dartmoor and in a late
Victorian sporting milieu. The story itself was published in Strand magazine in
1892. The story of Silver Blaze focuses on the disappearance of the eponymous race horse, a famous winner, on the evening of an important race and on the apparent murder of its trainer, John Straker. This story also features some of
Conan Doyle’s style in solving the case secretly through the character of Sherlock
Holmes by the curious incident of the dog in the night-time.
2. The Adventure of the Sussex Vampire
The Adventure of the Sussex Vampire is one story in the last volume of
Sherlock Holmes The Case-book of Sherlock Holmes. The story is set in 1896 in
Sussex. The story itself was published in 1924. This story focuses on the suspicion of vampirism beyond the name since the client, Robert Fergusson, saw his
Peruvian wife sucking the blood from their under-one-year boy. By looking the reflection of Jacky Fergusson, which is full of jealousy and cruel hatred, in the glass of the window, Holmes solved the case. 31 D. Theoretical Framework
This study aims to answer problems about the proportion of prepositional phrases and relative clauses as post-modifiers in two of Doyle’s short stories and the factors which influenced Doyle in choosing the prepositional phrases and relative clauses as post-modifiers. In this part the application of theories on the research will be explained.
The theory of complex noun phrase, prepositional phrases and relative clauses give contributions in finding the noun phrases in Silver Blaze and The Adventure of the Sussex Vampire to answer the first problem. Theories discussed about the prepositional phrases and relative clauses are to help the writer in analyzing noun phrases found in the two stories. The theory of relative clauses based on
Greenbaum and Quirk (1997) and Leech and Svartvik (1994) are significant to divide relative clauses into finite and non-finite relative clause, restrictive and non-restrictive relative clause. The syntactic structure of prepositional phrase by
Flor Aarts and Jan Aarts (1982) helps in analyzing the syntactic structure of the prepositional phrases found in the two stories. Furthermore, those theories are useful in analyzing the proportion of prepositional phrases and relative clauses as noun post-modifier found in the two stories written by Doyle.
The second problem deals with the effects achieved by the use of prepositional phrases and relative clauses as noun post-modifier in Doyle’s works.
The theories stated by Yule (2004) about the characteristics of restrictive and non- restrictive relative clause and theory about the explicitness of post-modification stated by Quirk et al. (1985) are important to help the writer in determining the 32 significance of those post-modifier in Doyle’s work. The theory about set of laws in writing detective stories gives information about the requirements in building detective stories and to see how noun phrase post-modified by prepositional phrase and relative clause help in the process of writing. Then the theory of the effects achieved by the use of prepositional phrase and relative clause as post- modifier also helps the writer in answering the second problem. The study reviewed in review in related studies gives some references to the writer about functions of relative clause in Poe’s and the readability in Doyle’s works. CHAPTER III
METHODOLOGY
Chapter III covers two parts: Object of the Study and Method of the Study.
Object of the Study presents the short stories analyzed in this study, records about the stories of Sherlock Holmes and a brief summary about the two short stories.
The second part is Method of the Study. This part covers the steps taken in doing the analysis in this study.
A. Object of the Study
This thesis deals with the application of prepositional phrases and relative clauses as post-modifier in Conan Doyle’s Silver Blaze and The Adventure of the
Sussex Vampire. Therefore, the data needed are the short stories entitled aforementioned.
The stories of Sherlock Holmes are very well-known since the stories had been made into recordings. “Recordings made by Basil Rathbone”
(http://www.basilrathbone.net/recordings/ - 27 October 2006) mentioned that there are audiocassette tapes of many of the Sherlock Holmes radio broadcasts starring Basil Rathbone and Nigel Bruce. The characteristics of Sherlock Holmes also inspire movie directors and musicians to produce movies and soundtracks.
“Yahoo! Movies Search Results” (http://www.yahoo.com – 27 October 2006) shows ten movies entitled “Sherlock Holmes” which are released in the range of year 1935 until 2006. The movies do not always tell Holmes’ life, some of them
33 34 has different story from Holmes’ life. Some movies mentioned use the same characteristics in Sherlock Holmes Stories, and some movies provides ‘younger version’ of Holmes and Watson. Sherlock Holmes stories are not made into recordings and movies only. Musicians are also interested to create soundtracks of this eccentric detective. Soundtrack Collector, in its specific section which is entitled Soundtrack Collector: Soundtrack Details: Young Sherlock Holmes
(http://www.soundtrackcollector.com/catalog/soundtrackdetail.php?movieid28820
– 27 October 2006) shows some Soundtrack CDs from the movie Young Sherlock
Holmes: Pyramid of Fear in 1985.
The writer uses two short stories written by Sir Arthur Conan Doyle entitled
Silver Blaze and The Adventure of the Sussex Vampire. Silver Blaze is one of short stories in the second volume of Sherlock Holmes: The Memoirs of Sherlock
Holmes. The writer downloaded the story from http://www.wikipedia.org. It is an-
11-page story when printed. The Adventure of the Sussex Vampire is taken from the last volume: The Case-Book of Sherlock Holmes. The writer took the story from Sherlock Holmes: The Complete Novels and Stories Volume 5, published in
2003 by Classic Press. The Adventure of the Sussex Vampire is in the page 242 up to page 257. In other words it has 16 pages.
Doyle’s Silver Blaze is a story about the disappearance or might be the theft of the eponymous race horse which was a famous winner, Silver Blaze. It disappeared on the eve of an important race. Its trainer, John Straker, was found dead on the same night. Inspector Gregory had already arrested a suspect related to Straker’s death, Fitzroy Simpson. Sherlock Holmes had different suspicion. 35 After doing investigations, Holmes found the horse in Capleton’s and he proved that Straker’s death was because of the horse: Straker tried to hurt the horse. The horse, sensing something dangerous was panicked and brought a shod hoof down on its trainer’s head. While The Adventure of the Sussex Vampire is a story about his client, Robert Fergusson, who had been convinced that his Peruvian wife had been sucking their baby son’s blood. He was broken-hearted as she was a devoted and loving wife. Holmes did some investigations in Fergusson’s house with
Watson: asking questions about anyone in the house and watched their behaviour.
Seeing the weapon in the house and the jealousy face in Jack, Fergusson’s son,
Holmes convinced Fergusson that his wife did not do anything wrong. Actually, she was sucking out the poison out of the baby from the poisoning darts shot by
Jack. This made Fergusson in pain.
B. Method of the Study
In this section, the writer will present the kind of research, method of research including data collection and data analysis.
1. Kind of Research
Yudit, in her thesis, quoted Dinneen (1967:4-5) An Introduction to General
Linguistics, there are three characteristics of linguistic as scientific study: objective, empirical and exact. Objective means it provides evidences and proofs to reach certain conclusion. Empirical means after having the evidence the research will be restricted to the evidence which can be proven only. Exact means 36 it gives precise explanation about the relation of each other elements in language.
Considering those points aforementioned, this thesis is an empirical study and is conducted by collecting data and analyzing them to draw a conclusion.
2. Data Collection
The object of the study in this thesis was prepositional phrases and relative clauses as post-modifier found in two stories by Conan Doyle: Silver Blaze and
The Adventure of the Sussex Vampire. Therefore the objects of the study were the short stories themselves.
To collect the data, first, the writer read the short stories in order to have better understanding in the stories and to find out the prepositional phrases and relative clauses as post-modifier in the stories. The writer also used Simple Concordance
Program 4.05 in finding prepositional phrases and relative clauses as post- modifier in the stories. This analysis aimed to find the proportion of prepositional phrases and relative clauses as post-modifier in the stories. Further, this study was to find the effects achieved by the use of prepositional phrase and relative clause as post-modifier in Doyle’s stories.
3. Data Analysis
After reading Silver Blaze and The Adventure of the Sussex Vampire, the writer did some steps used in the analysis. The first one was to identify the prepositional phrases and relative clauses as post-modifier found in the stories to find the proportion of them in the two stories. Afterwards, the writer analyzed the 37 data in order to find the effects achieved by the use of prepositional phrases and relative clause as post-modifier in the two short stories.
a. Identifying the Prepositional Phrases and Relative Clauses
The first step was to identify the prepositional phrases and relative clauses in the two stories based on the theories of prepositional phrase and relative clause as post-modifier. This was important to answer the first problem. In this step the writer also looked into the whole phrase and the whole sentence where it occurred to ease the further analysis.
i) Analyzing the Patterns
In this part, the patterns of prepositional phrases and relative clauses as post- modifier were analyzed to have clear understanding. The writer identified prepositional phrases and relative clauses as post-modifier found in the stories based on the theories stated by Greenbaum and Quirk in A Student’s Grammar of the English Language (1997) and by Leech and Svartvik in A Communicative
Grammar of English (1994). After finding the prepositional phrase and relative clause as the post-modifier, the writer looked into the whole phrase and the whole sentence where it occurred and analyzed the pattern. From this step the writer found out how prepositional phrase and relative clause are used as post-modifier in one sentence, that it is possible to have more than one prepositional phrase as post modifier in one sentence or to have more than one post-modifier to modify one head. In this part, the writer analyzed how prepositional phrases and relative 38 clauses are used as noun post-modifier based on their patterns and took three noun phrases in each pattern to discuss.
ii) The Proportion of Prepositional Phrases and Relative Clauses as the post-
modifier in Silver Blaze and The Adventure of the Sussex Vampire
Based on the findings, there were 287 prepositional phrases in Silver Blaze and 155 prepositional phrases in The Adventure of the Sussex Vampire. In Silver
Blaze there were 138 relative clauses and in The Adventure of the Sussex Vampire there were 75 relative clauses. In other words, there are 442 prepositional phrases and 213 relative clauses in those two stories. The writer also divided the relative clauses found in the stories based on their finiteness and restrictiveness. There were 176 finite relative clauses, 37 non-finite relative clauses, 149 restrictive relative clauses and 64 non-restrictive relative clauses. The analysis result in this part gave contribution in answering the second problem formulation.
b. Finding the Effects Achieved by the Use of Prepositional Phrases and
Relative Clauses as Post-modifier
After finding the proportion of prepositional phrases and relative clauses and identifying them, the following step was to find the effects achieved by the use of prepositional phrases and relative clauses as post-modifier in the two stories. This section is to answer the second problem. In this part, the writer divided the two stories based on pattern of action in detective stories stated by Cawelti. Then the writer identified all of noun phrases found in the Doyle’s Silver Blaze and The 39 Adventure of the Sussex Vampire by rereading the whole story and used the theory stated by Quirk et al. to classify the effects achieved in each noun phrase.
Furthermore, it is to see what effects that achieved more in Doyle’s works and which parts have certain effects by the use of prepositional phrase and relative clause as post-modifier in detective stories. CHAPTER IV
ANALYSIS RESULT
This study studies the prepositional phrases and relative clauses as post- modifier which are found in Doyle’s Silver Blaze and The Adventure of the Sussex
Vampire and identifies the proportion how prepositional phrase and relative clause as post-modifier are used in detective stories.
This chapter covers findings, the analysis and the discussion related to the study in order to answer the problems in chapter I. The first part deals with the pattern and the proportion of prepositional phrases and relative clauses as noun post-modifier in Doyle’s Silver Blaze and The Adventure of the Sussex Vampire.
The pattern analysis helps in analyzing how prepositional phrase and relative clause are used as noun post-modifier. The second part deals with the effects achieved by the use of prepositional phrases and relative clauses as noun post- modifier in Doyle’s work.
A. The Proportion of Prepositional Phrases and Relative Clauses in Doyle’s
Silver Blaze and The Adventure of the Sussex Vampire
Having read the two stories by Conan Doyle, the writer found several patterns in which the prepositional phrase and relative clause are used as noun post- modifier. Before seeing the overall proportion of prepositional phrase and relative clause as post-modifier in Doyle’s two short stories, the writer will show the recurring pattern found the two stories. The percentage of the patterns found will
40 41 help in finding how Doyle used prepositional phrase and relative clause as post- modifier in building Silver Blaze and The Adventure of the Sussex Vampire.
The following table will show how prepositional phrase and relative clause are used in several patterns in the two stories. There are two basic patterns. They are a noun phrase post-modified by prepositional phrase and a noun phrase post- modified by relative clause. The most frequent pattern is a noun phrase post- modified by a prepositional phrase, the occurrence is 348. Then the second most frequent is a noun phrase post-modified by a relative clause whose occurrence is
157.
Table 4.1 The Proportion of How Prepositional Phrases and Relative Clauses are used as Post-modifier in Conan Doyle’s Silver Blaze and The Adventure of the Sussex Vampire No. Pattern Number % 1. NP + prepositional phrase 348 68.91% a. NP + prepositional phrase 265 52.47% b. NP + prepositional phrase modified by relative clause 34 6.73% NP + prepositional phrase modified by relative clause c. 12 2.38% with NP + prepositional phrase in it d. NP + prepositional phrases (more than one) 37 7.33% 2. NP + relative clause 157 31.09% a. NP + relative clause 126 24.95% NP + relative clause with NP + prepositional phrase b. 21 4.16% in it NP + relative clause with another NP + relative c. 10 1.98% clause in it TOTAL 505 100%
From the table above, it is seen how prepositional phrases and relative clauses are used as noun post-modifier. Prepositional phrase as noun post-modifier can occur more often than relative clause as post-modifier. In this study, it is two times more frequent than relative clause as post-modifier (Quirk et al. and Leech 42 and Svartvik). Based on the data, prepositional phrase as post-modifier not only can stand alone in modifying a noun, but also possible to appear together with relative clause in one noun phrase whether they modify the main head or modify other heads. This is suitable to the characteristics of noun phrase, in which noun phrase can be recursive. In other word, it is possible to have more than one noun phrase in a noun phrase. As seen in table 4.1, noun phrase with prepositional phrase post-modification can be modified by relative clause and it is possible, even though rarely to find, to have more than one relative clause as post-modifier in a noun phrase. The points below will discuss further about the patterns and sub- patterns found in Doyle’s Silver Blaze and The Adventure of the Sussex Vampire.
The writer will use brackets in some sub-title to distinguish the post-modified and the post-modifier. The in brackets are the things post-modified. The noun phrase is bolded and italicized while the head is capitalized. After discussing the patterns, the writer will show the analysis result and discussion about how prepositional phrase and relative clause are used as post-modifier in overall occurrence found in the two stories.
1. Noun Phrase Post-modified by Prepositional Phrase
This basic pattern has four sub-patterns. They are noun phrases post-modified by a prepositional phrase or a minimal prepositional phrase, noun phrases post- modified by a prepositional phrase then modified by a relative clause, noun phrases post-modified by a prepositional phrase then modified by a relative clause with noun phrase post-modified by a prepositional phrase in it, and noun phrases 43 post-modified by more than one prepositional phrase. In the two stories, the occurrence of this basic pattern is 348.
a. Noun Phrase + prepositional phrase
This sub-pattern is the most frequent to occur in the two short stories analyzed. There are 265 noun phrases which have this sub-pattern. The noun phrases in this sub-pattern has the general phrase structure as shown below
(1) NP
Det. N µ
N PP
P NP
The examples and analysis of noun phrases with prepositional phrases as post- modifier taken from Doyle’s Silver Blaze and The Adventure of the Sussex
Vampire are below.
(2) Were the strange ATTACKS upon the baby and the ASSAULTS upon your son at the same period? (Appendix 2, no. 80)
(3) Fresh EDITIONS of every paper had been sent up by our news agent, only to be glanced over and tossed down into a corner. (Appendix 1, no. 3)
(4) I had almost made up my mind to sleep on the moor when I saw the LIGHT of your lantern. (Appendix 1, no. 45)
The sentences above are the examples of sentences in which noun phrases with prepositional phrase noun post-modifier occur. In (2) the prepositional phrase 44 upon the baby gives information that is necessary for the antecedent the strange attacks, and the noun phrase structure is shown in (2a).
(2a) NP
Det. N µ
Adj. N µ
the N PP
strange P NP
attacks Det. N
upon the baby
In (2a) is seen that the noun phrase can be recursive and it is possible to have other noun phrase in a noun phrase. From sentence (2) it is also seen that it is possible to have more than one noun phrase with prepositional phrase post- modification in one sentence.
b. (Noun Phrase + prepositional phrase) modified by relative clause
This sub-pattern is shown by the structure below
(5) NP
Det. N µ
N µ Relative Clause
N PP
The diagram shown in (5) is the most common structure found in this sub- pattern. This means that the noun phrase post-modified by a prepositional phrase, 45 which is the head, is modified by a relative clause. Meanwhile, this sub-pattern is also possible to have the following structure shown in (6), although there are only a few. From the structure below, it is seen that the noun phrase is post-modified by a prepositional phrase, in which the noun in the first post-modifier is post- modified by a relative clause.
(6) NP
Det. N µ
N PP
P NP
N Relative Clause
From the phrase structures above, it is obvious that the head in the noun phrase has more than one post-modification. This sub-pattern is quite often to find. The number of this pattern in the stories is 34. Below are the examples of noun phrases with prepositional phrase and relative clause post-modification.
(7) He felt there were SIDES of her character which he could never explore or understand. (Appendix 2, no. 30)
(8) And I think that your time will not be misspent, for there are POINTS about the case which promise to make it an absolutely unique one. (Appendix 1, no. 7)
(9) Tavistock itself lies two miles to the west, while across the moor, also about two miles distant, is the larger training ESTABLISHMENT of Mapleton, which belongs to Lord Backwater and is managed by Silas Brown. (Appendix 1, no. 36)
(10) Our client, Mr. Robert Ferguson, of Ferguson and Muirhead, tea brokers, of Mincing Lane, has made some inquiry from us in a 46 COMMUNICATION of even date concerning vampires. (Appendix 2, no. 4)
Sentence (8) has a noun phrase POINTS about the case which promise to make it an absolutely unique one. When the noun phrase is unattached from its sentence, it will be analyzed as follows
(8a) POINTS about the case which promise to make it an absolutely unique one
In (8a) it is seen that about the case modifies POINTS. Then POINTS about the case becomes the antecedent which is then modified by finite restrictive relative clause which promise to make it an absolutely unique one. This sub- pattern also can be applied for the non-finite relative clause. The example is seen in sentence (10), which uses –ing non-finite relative clause to modify the head which is post-modified by prepositional phrase. Sentence (7) has a noun phrase
SIDES of her character which he could never explore or understand. The head
SIDES is post-modified by a prepositional phrase of her character. Then SIDES of her character is post-modified by a finite restrictive relative clause which he could never explore or understand. When unattached from its sentence, the analysis result is
(7a) SIDES of her character which he could never explore or understand
This noun phrase has noun phrase structure as below 47 (7b) NP Det. Nµ N µ S N µ PP Comp. S’ NP VP ø N P NP N
SIDES of her character which he could never explore or understand
There is also a special case like in (9). The finite non-restrictive relative clause which belongs to Lord Backwater and is managed by Silas Brown only modifies the antecedent Mapleton instead of the larger training establishment of Mapleton.
This type has the same phrase structure as in (6). From this sub-pattern, it is seen that both prepositional phrase and relative clause can appear together as post- modifier in a noun phrase, that the head of a noun phrase may have more than one post-modifier.
c. (Noun Phrase + prepositional phrase) modified by relative clause with
(noun phrase + prepositional phrase) in it
This sub-pattern is less often to find than the two previous sub-patterns discussed. The number of this sub-pattern in the stories is 12. The noun phrases in this sub-pattern are post-modified by a prepositional phrase, and then that noun phrase is post-modified by a relative clause containing a noun phrase post- modified by a prepositional phrase. In other word, there are more than one noun post-modifier and more than one noun phrase, but they are bound in one noun phrase. The phrase structure of this sub-pattern is shown below 48 (11) NP
Det. N µ
Nµ CP
N PP Spec. C µ
Comp. IP
NP Iµ
I VP
V PP
The examples of noun phrase post-modified by prepositional phrase and then post-modified by relative clause containing prepositional phrase are below.
(12) As to the missing horse, there were abundant PROOFS in the mud which lay at the BOTTOM of the fatal hollow that he had been there at the TIME of the struggle. (Appendix 1, no. 70)
(13) Holmes balanced it on his knee, and his eyes moved slowly and lovingly over the RECORD of old cases, mixed with the accumulated information of a lifetime. (Appendix 2, no. 10)
(14) He was a MAN of excellent birth and education, who had squandered a FORTUNE upon the turf. (Appendix 1, no. 78)
From the sentence (12) it is seen that the antecedent abundant PROOFS is post- modified by a prepositional phrase in the mud. Then the abundant PROOFS in the mud, which is the head, is post-modified by a finite restrictive relative clause which lay at the BOTTOM of the fatal hollow that he had been there at the TIME of the struggle. That relative clause consists of two noun phrases post-modified by 49 prepositional phrases the BOTTOM of the fatal hollow and the TIME of the struggle. This also applied in sentence (13), and (14).
In (14) the noun phrase is a MAN of excellent birth and education, who had squandered a FORTUNE upon the turf. The antecedent a MAN is post-modified by a prepositional phrase of excellent birth and education. Then that noun phrase is post-modified by a finite non-restrictive relative clause who had squandered a
FORTUNE upon the turf, in which there is a noun phrase post-modified by a prepositional phrase a FORTUNE upon the turf. Meanwhile, the second prepositional phrase can be expanded into a finite restrictive relative clause as follow
(14a) a FORTUNE which is always gambled upon the turf
Therefore, if the whole noun phrase is expanded, it will be
(14b) a MAN of excellent birth and education, who had squandered a
FORTUNE which is always gambled upon the turf
In (14b) the noun phrase has three noun post-modifiers in which two of them are finite relative clauses. This is related to readability. Doyle simplified the noun phrase by making the second finite relative clause, which is always gambled upon the turf, into a prepositional phrase to maximize the readability. This might be because of the diction squandered and fortune is related to waste, money and gamble. Therefore, Doyle simplified the second relative clause by eliminating the relative pronoun which. 50 The following points will explain about the last sub-patterns of noun phrase post-modified by prepositional phrases, which is noun phrase post-modified by prepositional phrases. In other words, there is more than one prepositional phrase modifying the same head. In this sub-pattern, the noun phrase is post-modified by more than one prepositional phrase. This sub-pattern is quite often to find. The number of this pattern in the stories is 37. There are three possibilities which can be classified into this sub-pattern whose explanation and structure will be seen in point d, e and f.
d. (Noun Phrase + preposition) modifying (noun phrase + prepositional
phrase)
The first head in this noun phrase is followed by a preposition in which they modify the following noun phrase, which is post-modified by a prepositional phrase. The example of this noun phrase is seen in (15)
(15) He had a great INTEREST in the disappearance of the favourite. (Appendix 1, no. 100)
In (15) the noun phrase a great INTEREST in the disappearance of the favourite consists of two prepositional phrases in the disappearance and of the favourite. If the noun phrase is split, the components will be
(15a) a great INTEREST in the disappearance
(15b) the DISAPPEARANCE of the favourite
And if syntactically analyzed, it will be
(15c) a great INTEREST in the disappearance of the favourite 51 This noun phrase is post-modified by a prepositional phrase which contains a noun phrase post-modified by another prepositional phrase. The phrase structure is as follow
(15d) NP
Det. N µ
Adj. N µ
a N PP
great P NP
interest Det. N µ
in N PP
the P NP
disappearance Det. N
of
the favourite
From (15d) it is seen that noun phrase and prepositional phrase can be recursive. Unfortunately, this noun phrase has different syntactic structure from the noun phrase with prepositional phrases post-modification which will be discussed in point e below. 52 e. ((Noun Phrase + prepositional phrase) + preposition) modified by (noun
phrase + prepositional phrase)
The head in this noun phrase is post-modified by a prepositional phrase. Then they become the head which is post-modified by another prepositional phrase. The example of this noun phrase is seen in (16).
(16) an A D P brier-root pipe, a POUCH of sealskin with half an ounce of long-cut Cavendish, a silver watch with a gold chain, five sovereigns in gold, an aluminum pencil-case, a few papers, and an ivory-handled knife with a very delicate, inflexible blade marked Weiss & Co., London. (Appendix 1, no. 125)
In (16) the noun phrase is a POUCH of sealskin with half an ounce of long-cut
Cavendish. This noun phrase is post-modified by a prepositional phrase, later it is considered as the head. Then that head is post-modified by a prepositional phrase.
The prepositional phrase of sealskin post-modifies the POUCH. Then the second prepositional phrase with half an ounce of long-cut Cavendish post-modifies a
POUCH of sealskin, which is the head. The noun phrase can be split into
(16a) a POUCH of sealskin
(16b) it is filled with half an ounce of long-cut Cavendish
And if analyzed syntactically, it will be
(16c) a POUCH of sealskin with half an ounce of long-cut Cavendish
And the noun phrase structure of (16) is 53 (16d) NP
Det. N µ
Nµ PP
a N PP P NP
P N N µ PP
pouch P NP
of sealskin
with half an ounce of long-cut Cavendish
Besides noun phrases post-modified by prepositional phrases discussed in point d and e, there are also sentences with noun phrases as in the following point.
f. Noun Phrase post-modified by coordinated prepositional phrases
Noun phrase here is post-modified by coordinated prepositional phrases. The example of this noun phrase is seen in (17).
(17) The lady was very beautiful, but the FACT of her foreign birth and of her alien religion always caused a SEPARATION of interests and of feelings between husband and wife, so that after a time his love may have cooled towards her and he may have come to regard their union as a mistake. (Appendix 2, no. 29)
There it is seen that the noun phrase is the FACT of her foreign birth and of her alien religion. The antecedent the FACT is post-modified by two prepositional phrases of her foreign birth and of her alien religion. The prepositional phrases in the noun phrase are coordinated with a conjunction and they modify the same head in a noun phrase. If the phrase is split it will be as follow 54 (17a) the FACT of her foreign birth
(17b) the FACT of her alien religion
And if the noun phrase is expanded, it will be
(17c) the FACT of her foreign birth and the FACT of her alien religion
And the phrase structure of that noun phrase is
(17d) NP
Det. NP
Nµ PP
PP Conjunction PP
N P NP P NP
The fact of her foreign birth and of her alien religion
From the discussions in points d, e, and f above, Doyle used those noun phrases to make a distinctive characteristic of a thing in a short phrase, considering the sentences are too long, as in (16) and (17), rather than to use finite restrictive relative clause. Doyle also simplified the phrase by using coordinator in order to avoid the repetition of the head.
2. Noun Phrase Post-modified by Relative Clause
This basic pattern has three sub-patterns. They are noun phrases post-modified by a relative clause or a minimal relative clause, noun phrases post-modified by a relative clause containing noun phrase post-modified by a prepositional phrase, 55 and noun phrases post-modified by a relative clause containing another noun phrase post-modified by a relative clause or there are more than one relative clause in a noun phrase.
a. Noun Phrase + relative clause
This noun phrase is very easy to find, but still less frequent than the noun phrase with prepositional phrase post-modification. The structure of this sub- pattern in seen in the parse tree below
(18)
Below are the examples and analysis of noun phrase post-modified by a relative clause as post-modifier taken from Doyle’s Silver Blaze and The
Adventure of the Sussex Vampire.
(19) Holmes had read carefully a NOTE which the last post had brought him. (Appendix 2, no. 1) 56 (20) "The fact was, of course, appreciated at KING’S PYLAND, where the colonel's training-stable is situated. (Appendix 1, no. 30)
(21) In every other direction the moor is a complete WILDERNESS, inhabited only by a few roaming gypsies. (Appendix 1, no. 37)
The relative clauses found are finite and non-finite relative clause, and each of them can be restrictive and non-restrictive. For example is (19), the finite restrictive relative clause which the last post had brought him modifies the antecedent a NOTE. If (19) has finite restrictive relative clause, (21) has non-finite non-restrictive relative clause. The antecedent a complete WILDERNESS is post- modified by a relative clause inhabited only by a few roaming gypsies, which is non-finite and non-restrictive. The non-finite relative clause in (21) can be expanded into finite relative clause, as follows
(21a) In every other direction the moor is a complete WILDERNESS, which
was inhabited only by a few roaming gypsies.
The noun wilderness, according to Oxford Advance Learner’s Dictionary, is an area that is not settled, in other word not inhabited. The noun phrase in (21) gives additional information that there are only a few roaming gypsies, who do not stay permanently, inhabited in the area. This additional information strengthens the idea of a complete wilderness and to give more description about the situation around the moor.
b. Noun Phrase modified by relative clause with NP + PP in it
This sub-pattern is quite rare to find. The number of this sub-pattern in the stories is 21. The structure of this noun phrase is seen in the parse tree below 57 (22)
The noun phrase in this sub-pattern is post-modified by a relative clause in which it contains a noun phrase post-modified by a prepositional phrase. In other word, there are two heads with different post-modifiers in the phrase but they are bound in one noun phrase. The examples of noun phrase post-modified by relative clause containing a prepositional phrase post-modification are seen below.
(23) He was a remarkable lad, pale-faced and fair-haired, with excitable light blue EYES which blazed into a sudden FLAME of emotion and joy as they rested upon his father. (Appendix 2, no. 109)
(24) Indeed, my only wonder was that he had not already been mixed up in this extraordinary CASE, which was the one TOPIC of conversation through the length and breadth of England. (Appendix 1, no. 1)
(25) COLONEL ROSS, who had shown some SIGNS of impatience at my companion's quiet and systematic METHOD of work, glanced at his watch. (Appendix 1, no. 148) 58 Excitable light blue EYES in (23) is post-modified by a finite restrictive relative clause containing a noun phrase post-modified by a prepositional phrase a sudden FLAME of emotion and joy. The antecedent this extraordinary CASE in
(24) is post-modified by a finite non-restrictive relative clause which contains a noun phrase post-modified by a prepositional phrase the one topic of conversation through the length and breadth of England. Thus the prepositional phrase can be expanded as
(24a) the one TOPIC of conversation which is spoken through the length and
breadth of England.
Further, if the overall noun phrase is expanded, it will be as follow
(24b) this extraordinary CASE, which was the one TOPIC of conversation
which is spoken through the length and breadth of England.
The prepositional phrases in those relative clauses are possible to expand and have the same meaning as a finite restrictive relative clause. The noun phrase like in (24b) is rare to find, because it will make difficulties in reading. Based on the rules in writing detective stories, Doyle were not allowed to write too elaborate since it will make the denouement incomprehensible. Therefore, Doyle, instead of using noun phrases post-modified by a relative clause, used noun phrase post- modified by a prepositional phrases in this sub-pattern to avoid the difficulty in reading, or to simplify the phrase in order to maximize the readability.
The noun phrases like in (25) is also possible. A noun phrase may be post- modified by a relative clause containing two noun phrases post-modified by a 59 prepositional phrase. From this sub-pattern, it is also seen that the use of more than one heads in a noun phrase is possible.
c. Noun Phrase + relative clause with another noun phrase + relative clause
This sub-pattern is the most rare to find among the previous sub-patterns. The number of this sub-pattern is 10. The structure of this noun is as follow
(26)
The noun phrase in this sub-pattern is post-modified by a relative clause, and then that noun phrase is post-modified by another relative clause. It is also possible that the second relative clauses post-modify different head, but they are bound in one noun phrase. In other word, noun phrases classified into this sub- pattern have more than one relative clause, whether they modify the same antecedent or different antecedent. The examples of noun phrase post-modified by 60 a relative clause, and then post-modified by another relative clause or there is another relative clause in the post-modification are seen below.
(27) It is full of old HOUSES which are named after the MEN who built them centuries ago. (Appendix 2, no. 24)
(28) His wet clothing showed that he had been out in the storm of the night before, and his STICK, which was a PENANG-LAWYER weighted with lead, was just such a weapon as might, by repeated blows, have inflicted the terrible injuries to which the trainer had succumbed. (Appendix 1, no. 83)
(29) It was clear, however, that Straker had defended himself vigorously against his assailants, for in his right hand he held a small knife, which was clotted with blood up to the handle, while in his left he clasped a red and black silk CRAVAT, which was recognized by the maid as having been worn on the preceding evening by the STRANGER who had visited the stables. (Appendix 1, no. 67)
From example (27), it is seen that the antecedent old HOUSES is post- modified by a finite restrictive relative clause which are named after the MEN who built them centuries ago in which there is a noun phrase post-modified by a finite restrictive relative clause the MEN who built them centuries ago.
Other example also can be seen in (28). The noun phrase is his STICK, which was a PENANG-LAWYER weighted with lead. The antecedent his STICK is post- modified by a finite non-restrictive relative clause which was a PENANG-
LAWYER weighted with lead in which there is a noun phrase post-modified by a non-finite restrictive relative clause a PENANG-LAWYER weighted with lead. If the phrase is expanded it will be
(28a) his STICK, which was a penang-lawyer which was weighted with lead
The first relative clause to modify the noun phrase is always finite relative clauses. These relative clauses can be restrictive or non-restrictive. The second 61 relative clauses can be finite or non-finite relative clause, but most of these relative clauses are restrictive. Here is seen Doyle’s ability to combine the various types of relative clause in one noun phrase. This sub-pattern is rarely found but is one of Doyle’s characteristics in building his stories. Considering this sub-pattern will make difficulties in reading, as there are many words in a phrase, Doyle did not build his stories using this sub-pattern more often to maximize the readability.
3. The Proportion
After classifying the patterns of how prepositional phrase and relative clause are used as noun post-modifier, the writer classified the relative clause found in the two stories based on the theories stated by Greenbaum and Quirk in A
Student’s Grammar of the English Language (1997) and by Leech and Svartvik in
A Communicative Grammar of English (1994). The types of relative clause found are finite restrictive relative clauses, finite non-restrictive relative clauses, non- finite restrictive relative clauses and non-finite non-restrictive relative clauses.
This helped the writer in analyzing the proportion of those noun post-modifiers and in finding the effects achieved by using such noun post-modifiers.
The proportion of prepositional phrases and relative clauses as the post- modifiers in the two stories are shown in table 4.2. In this table the result shown is the overall occurrences, which means it is calculated everywhere it occurs, whether it stands alone or modify each other. 62 Table 4.2 The Proportion of Prepositional Phrases and Relative Clauses in Conan Doyle’s Silver Blaze and The Adventure of the Sussex Vampire Post-modified by No. Stories Prepositional Phrase Relative Clause 1. Silver Blaze 287 138 2. The Adventure of the Sussex V. 155 75 TOTAL 442 213 OVERALL 67.48% 32.52%
From table 4.2 it is obvious that noun phrase post-modified by a prepositional phrase is more frequent than noun phrase post-modified by a relative clause. It is seen from the frequency of occurrence, which is 67.48%, showing that prepositional phrase as post-modifier dominate the data analyzed or two times more frequent than relative clause as post-modifier. This strengthens the theory stated by Leech and Svartvik and Quirk et al., which mentions that prepositional phrase is the most commonest type of post-modifier in English (Leech and
Svartvik, 1994:345), and it is three or four times more frequent than either finite or non-finite clausal post-modification (Quirk et al., 1972:883). One example which supports data in table 4.2 is seen in (30)
(30) There was but one PROBLEM before the public which could challenge his powers of analysis, and that was the singular DISAPPEARANCE of the favourite for the Wessex Cup, and the tragic MURDER of its trainer. (Appendix 1, no. 4)
In (30) seen that noun phrase with prepositional phrase post-modification can occur more frequent, in the example it is four times more frequent, than noun phrase with relative clause post-modification.
Noun phrase with prepositional phrase post-modification may have the same meaning as noun phrase with relative clause post-modification. The table below will show the number of prepositional phrases which can be made into relative 63 clause or have the same meaning as the relative clause. These prepositional phrases are less explicit. The number shown will help in analyzing the explicitness of the stories.
Table 4.3 The Proportion of Prepositional Phrases in Conan Doyle’s Silver Blaze and The Adventure of the Sussex Vampire which have the same meaning as relative clause No. Prepositional Phrases Occurrences Prepositional phrases which have the same meaning 1. 107 as relative clause
From table 4.3, it is obvious that the number of prepositional phrase which can be expanded into relative clause, or has the same meaning as relative clause, is
107. This means it is one-fourth of overall occurrences prepositional phrase post- modification in the stories. In other word, the explicitness in the story is reducing by the existence of noun phrases with prepositional phrases post-modification which have the same meaning as relative clauses. However, it does not mean that
Doyle did not give explicit sentences in building these two stories. This is proven by the existence of relative clauses post-modification, in which the finite restrictive relative clauses post-modification dominate the stories. Quirk et al. also strengthens this condition, that reduction in explicitness in the noun phrase is closely related to the linguistic and situational context (1985:1243). In this study, the situation analyzed is detective story, in which overwriting are not allowed.
Table 4.4 shows the proportion of the relative clauses found in the stories, and in table 4.5, it is shown the proportion of relative clauses found in the stories based on its finiteness and restrictiveness. 64 Table 4.4 The Proportion of Relative Clause in Conan Doyle’s Silver Blaze and The Adventure of the Sussex Vampire based on the theory No. Relative Clauses Occurrences Percentage 1. Finite restrictive relative clause 124 58.22% 2. Finite non-restrictive relative clause 52 22.41% 3. Non-finite restrictive relative clause 25 11.74% 4. Non-finite non-restrictive relative clause 12 5.63% TOTAL 213 100%
From table 4.4 it is seen that finite relative clause is more frequent than non- finite relative clause. It means that the explicitness in the two stories is quite great, based on the theory of explicitness in post-modification stated by Greenbaum and
Quirk (1997:366). The clear distribution of finiteness and restrictiveness of relative clause is seen in the two tables below.
Table 4.5 The Proportion of Relative Clause in Conan Doyle’s Silver Blaze and The Adventure of the Sussex Vampire based on the theory of finiteness of relative clause No. Relative Clauses Occurrences Percentage 1. Finite relative clause 176 82.63% 2. Non-finite relative clause 37 17.37% TOTAL 213 100%
Table 4.6 The Proportion of Relative Clause in Conan Doyle’s Silver Blaze and The Adventure of the Sussex Vampire based on the theory of restrictiveness of relative clause No. Relative Clauses Occurrences Percentage 1. Restrictive relative clause 149 69.96% 2. Non-restrictive relative clause 64 30.04% TOTAL 213 100%
From the tables above it is seen that finite relative clause and restrictive relative clause are dominant. This is shown by the percentage which reaches more than 65 percent. This means the relative clauses in the two stories give a large contribution in explicitness of the stories. 65 B. The Effects Achieved by the Use of Prepositional Phrases and Relative
Clauses as Post-modifier
After finding the proportion how prepositional phrase and relative clause are used as post-modifier, the writer found some effects achieved by their use in
Doyle’s Silver Blaze and The Adventure of the Sussex Vampire.
The following table will show the effects achieved by the use of prepositional phrases and relative clauses as post-modifiers in the stories. Each noun phrase is possible to achieve more than one effect.
Table 4.7 The Effects Achieved by the use of Prepositional Phrases and Relative Clauses Used as Post-modifier in Conan Doyle’s Silver Blaze and The Adventure of the Sussex Vampire No. Effects Achieved Number % Give more distinctive/specific explanation about an 1. 403 55.97% object (limit to certain extent) 2. Avoid discontinuity or ambiguity 57 7.92% 3. Maximize the explicitness 94 13.05% 4. Supply essential and or additional information 166 23.06% TOTAL 720 100%
From the table above, it is clear that the effect most achieved is giving more distinctive or specific explanation about an object which limits to certain extent.
This is important in detective stories since the objects in the story have to be specified in order to involve the reader in the story. Then the second effect most achieved is supplying essential and or additional information. This is also important as essential information is needed in the detection process. Here are some examples from the two stories. 66 1. Giving more distinctive or specific or descriptive explanation about an
object so that it limits to certain extent
This effect dominates the two short stories analyzed. The number of occurrences of this effect is 403 or 55.97% of all effects achieved in the story. The examples which have this effect are as follows
(31) “VOYAGE of the Gloria Scott,” he read. (Appendix 2, no. 11)
(32) As to the missing horse, there were abundant PROOFS in the mud which lay at the BOTTOM of the fatal hollow that he had been there at the TIME of the struggle. (Appendix 1, no. 70)
In (31) is seen that the noun phrase VOYAGE of the Gloria Scott limits to certain extent and give specific explanation. While in (32), the noun phrase does not only limit to certain extent, but also gives more descriptive explanation. The noun phrase in (32) also has effect in giving essential or additional information.
2. Avoiding discontinuity or ambiguity
This effect is minority compared to other effects achieved in the story. The number of occurrences of this effect is 57. The examples can be seen below
(33) We have not forgotten your successful action in the CASE of Matilda Briggs. (Appendix 2, no. 6)
(34) I presume that you have looked into this matter of the MURDER of John Straker and the DISAPPEARANCE of Silver Blaze? (Appendix 1, no. 13)
From noun phrases in (33) and (34) are seen the prepositional phrase post- modification is chosen rather than the genitive form since it will create discontinuity. If Doyle chose genitive form, the noun phrases will be as follows 67 (33a) Matilda Briggs’ case
(34a) John Straker’s murder
(34b) Silver Blaze’s disappearance
In (33a) and (34a), the noun phrases are ambiguous: whether a case related to
Matilda Briggs or a case which is handled by Matilda Briggs and whether a murder in which the victim is John Straker or a murder organized by John
Straker. While in (34b) it is easier to understand what happened first rather than to whom it happened. In other word, it is easier to understand the disappearance of
Silver Blaze rather than Silver Blaze’s disappearance. Therefore Doyle used prepositional phrase post-modification to avoid ambiguity and discontinuity.
3. Maximizing the explicitness
The number of this effect in the story is 94. One example is as follow
(35) Indeed, my only wonder was that he had not already been mixed up in this extraordinary CASE, which was the one topic of conversation through the length and breadth of England. (Appendix 1, no. 1)
The example above is not only limited to certain extent, but also maximizing the explicitness by using finite non-restrictive relative clause so that supplying essential information about the case is possible and more clear.
4. Supplying essential and or additional information
The number of occurrences of this effect in the stories is 166. The example is seen below 68 (36) JOHN STRAKER, who is a married man lived in a small VILLA about two hundred yards from the stables. (Appendix 1, no. 34)
In the example above, the relative clause who is a married man gives additional information about John Straker. Then a small VILLA about two hundred yards from the stables give essential information that John Straker lives in such place which is about two hundred yards form the stables.
The following tables will show each effect achieved in each part of action based on the theory stated by Cawelti and Quirk et al.
Table 4.8 The Effects: Giving more Distinctive Explanation about an Object; Based on Pattern of Action of Detective Stories in Conan Doyle’s Silver Blaze and The Adventure of the Sussex Vampire No. Effects Achieved in Number % 1. Introduction of the detective 41 10.17% 2. Crime and clues 161 39.96% 3. Investigation 126 31.26% 4. Announcement of the solution 24 5.96% 5. Explanation of the solution 42 10.42% 6. Denouement 9 2.23% TOTAL 403 100%
Table 4.9 The Effects: Avoid Discontinuity and Ambiguity; Based on Pattern of Action of Detective Stories in Conan Doyle’s Silver Blaze and The Adventure of the Sussex Vampire No. Effects Achieved in Number % 1. Introduction of the detective 13 22.80% 2. Crime and clues 25 43.86% 3. Investigation 11 19.30% 4. Announcement of the solution 2 3.51% 5. Explanation of the solution 6 10.53% 6. Denouement 0 0 TOTAL 57 100% 69 Table 4.10 The Effects: Maximize the Explicitness; Based on Pattern of Action of Detective Stories in Conan Doyle’s Silver Blaze and The Adventure of the Sussex Vampire No. Effects Achieved in Number % 1. Introduction of the detective 12 12.77% 2. Crime and clues 26 27.66% 3. Investigation 35 37.23% 4. Announcement of the solution 4 4.25% 5. Explanation of the solution 15 15.96% 6. Denouement 2 2.13% TOTAL 94 100%
Table 4.11 The Effects: Supply Essential and Additional Information; Based on Pattern of Action of Detective Stories in Conan Doyle’s Silver Blaze and The Adventure of the Sussex Vampire No. Effects Achieved in Number % 1. Introduction of the detective 22 13.25% 2. Crime and clues 71 42.77% 3. Investigation 45 27.11% 4. Announcement of the solution 8 4.82% 5. Explanation of the solution 16 9.64% 6. Denouement 4 2.41% TOTAL 166 100%
And when table 4.8 until 4.11 are combined into a diagram, it will be as in diagram 4.1. 70 Diagram 4.1 The Effects Achieved by the use of Prepositional Phrase and Relative Clause as Post-modifier Based on their Pattern of Action
180 160 Distinctive object 140 120 Avoid discontinuity 100 80 Maximize the 60 explicitness Occurrences 40 Essential and Additional 20 Information 0 clues Crime and Investigation Denouement the solution the detective Introduction of Explanation of of of the solution Announcement Pattern of Action
From the diagram above it is seen that giving distinctive explanation about objects are necessary in crime and clues, investigation, and explanation of the solution phases. This is in line with supplying essential and or additional information. This is because those phases need descriptive explanation and essential and additional information in order to make clear about how the crime is done in the story and how the detective solved the mystery of the crime.
Meanwhile, maximizing the explicitness effect is necessary in investigation phase. This is because in investigating, everything must be clear enough to follow.
Therefore, the noun phrases must be explicit enough in this phase to strengthen the clues. Then, unambiguous explanation is necessary in crime and clues phase.
Avoid discontinuity and ambiguity effect reaches its peak in this phase, since it is important to give exact and unambiguous explanation about the clues exposed in the story. 71 From the time when the detective had done the investigation, gathered the evidences and had found the solution, the detective would announce that he had solved the problem – secretly of course. Therefore, the effects achieved in announcement of the solution phase are decreasing since all evidences had been revealed in crime and clues and investigation phases. Then all effects are increasing in small number in explanation of the solution phase. This is because the detective has to facilitate the other characters in the stories and the reader how he connected the crimes, evidences and facts so that he could solve the mystery.
As the mystery solved and everything became clear, all effects are decreasing again in denouement phase. CHAPTER V
CONCLUSION
After presenting the findings, analysis and discussion of the two problems in the previous chapter, the writer will conclude all those presented in this chapter.
This chapter concludes the answers of the two problems discussed in the previous chapter.
The first problem was about the proportion of prepositional phrases and relative clauses in Doyle’s short stories Silver Blaze and The Adventure of the
Sussex Vampire. The two stories consist of many noun phrases with prepositional phrases and relative clauses post-modification. The prepositional phrases as post- modifier are more frequent than the relative clauses as post-modifier since it has simpler structure. From the sub-patterns found in those two stories seen how prepositional phrase and relative clause are used as post-modifier, in which noun phrases with prepositional phrase post-modification occur more often. Noun phrases are possible to have one head with more than one prepositional phrase as post-modifier like A mixture of the modern and the mediaeval, of the practical and of the wildly fanciful, or have more than one noun phrase in which the prepositional phrase and or relative clause as post-modifier modify each other like
A smile of amusement upon his face which gradually faded away into an expression of intense interest and concentration. It is also possible to have two relative clauses as post-modifier in one phrase like A red and black silk cravat, which was recognized by the maid as having been worn on the preceding evening
72 73 by the stranger who had visited the stables, but it is rare enough since it will bore the reader in reading the stories. The occurrence of noun phrase with prepositional phrase post-modification, which dominates the story, can lessen the explicitness of the story. On the other hand, the noun phrase with finite restrictive relative clause post-modification, which is more explicit, also dominates the occurrence of relative clause as noun post-modification in the stories.
The second problem was about the effects achieved by the use of prepositional phrases and relative clause as post-modifiers. The effect most achieved is giving more distinctive or specific explanation about an object so that it limits to certain extent and supplying essential and or additional information. Those are indispensable in the detection process: crime and clues, investigation and explanation of the solution phase. This is because the author of detective story has to facilitate the other characters in the stories and the reader about the situation, how the crime is done, how the detective connected the clues and evidences exposed and how he could solve the mystery. The two other effects, avoiding discontinuity and ambiguity and maximizing the explicitness are needed in supporting the detection process in order to make clues exposed and the investigation clear enough to follow and the solution of the mystery is comprehensible in the denouement.
In short, a noun phrase with prepositional phrase and finite restrictive relative clause post-modification help the author in fulfilling the rules in writing detective stories which must avoid overwriting and must reveal all clues and provide sufficient descriptiveness. The use of prepositional phrase and relative clause as 74 post-modifier also give certain effects which are indispensable in building detective stories. From this study, the writer and reader of this thesis can see the significance of language, in this case prepositional phrases and relative clauses as post-modifiers, in building detective stories. BIBLIOGRAPHY
Aarts, Flor and Jan Aarts. English Syntactic Structure: Functions and Categories in Sentence Analysis. Oxford: Pergamon Press Ltd., 1982
Baker, C. L. English Syntax. Cambridge: The MIT Press, 1989
Cawelti, John G. Adventure, Mystery, and Romance: Formula Stories as Art and Popular Culture. Chicago: University of Chicago Press. 1976
Doyle, Sir Arthur Conan. Sherlock Holmes: The Complete Novels and Stories Volume 5. Batam Centre, Batam: Classic Press, 2003
Greenbaum, Sidney and Randolph Quirk. A Student’s Grammar of the English Language. London: Pearson Education Ltd., 1997
Jackson, Howard. Analyzing English. Oxford: Pergamon Press, 1982
Prasthiwi, Yohana Kuncup Yhanuar. A Study of English Relative Clauses in Edgar Allan Poe’s “The Murders in the Rue Morgue”. Unpublished Undergraduate Thesis. Yogyakarta: Sanata Dharma University, 2006
Leech, Geoffrey and Jan Svartvik. A Communicative Grammar of English. London: Longman Group Limited, 1994
Quirk, Randolph, Sidney Greenbaum, Geoffrey Leech and Jan Svartvik. A Comprehensive Grammar of the English Language. London: Longman Group Limited, 1985
Quirk, Randolph, Sidney Greenbaum, Geoffrey Leech and Jan Svartvik. A Grammar of Contemporary English. London: Longman Group Limited, 1972
Yudit, A Study of Noun Phrases in Hemingway’s “Hills Like Elephants” and “Indian Camp”. Unpublished Undergraduate Thesis. Yogyakarta: Sanata Dharma University, 2004
Yule, George. Explaining English Grammar. New York: Oxford University Press, 2004
75 76 Online References:
Hurst, L. J. How Readable is Science Fiction.
“Caslon Analytics Profile: online readability”
“Golden Age of Detective Stories: The Ten Commandments of Detective Fiction”
“Recordings made by Basil Rathbone”
“Sherlockian.Net: All the Stories”
“Soundtrack Collector: Soundtrack Details: Young Sherlock Holmes”
“Yahoo! Movies Search Results”
Appendix 1 Noun Phrases Post-modified by Prepositional Phrases and Relative Clauses in Silver Blaze in order of Their Appearance
A. INTRODUCTION OF THE DETECTIVE Noun Phrase Pattern Effects 1. Indeed, my only wonder was that he had not already been mixed up in this extraordinary case, which was the one 4 a, c, d topic of conversation through the length and breadth of England. 2. For a whole day my companion had rambled about the room with his chin upon his chest and his brows knitted, charging 2 a and recharging his pipe with the strongest black tobacco, and absolutely deaf to any of my questions or remarks. 3. Fresh editions of every paper had been sent up by our news 2 b agent, only to be glanced over and tossed down into a corner. 4. There was but one problem before the public which could 5 a, d challenge his powers of analysis, and that was the singular 7 a disappearance of the favourite for the Wessex Cup, and the 2 a, b tragic murder of its trainer. 5. When, therefore, he suddenly announced his intention of 2 a, b setting out for the scene of the drama, it was only what I had 2 a both expected and hoped for. 6. My dear Watson, you would confer a great favour upon me 2 a by coming. 7. And I think that your time will not be misspent, for there are points about the case which promise to make it an 3 c absolutely unique one. 8. We have, I think, just time to catch our train at Paddington, 2 a, b and I will go further into the matter upon our journey. You 2 a would oblige me by bringing with you your very excellent field-glass. 9. And so it happened that an hour or so later I found myself in 3 a the corner of a first-class carriage flying along en route for Exeter, while Sherlock Holmes, with his sharp, eager face 1 d framed in his ear-flapped travelling-cap, dipped rapidly into the bundle of fresh papers which he had procured at 3 a, d Paddington.
77 10. We had left Reading far behind us before he thrust the last one 2 a of them under the seat and offered me his cigar-case. 11. Our rate at present is fifty-three and a half miles an hour. 2 b 12. But the telegraph posts upon this77 line are sixty yards apart, 2 a and the calculation is a simple one. 13. I presume that you have looked into this matter of the 7 b murder of John Straker and the disappearance of Silver 2 b Blaze? 14. It is one of those cases where the art of the reasoner should be used rather for the sifting of details than for the 5 c, d acquiring of fresh evidence. 15. The tragedy has been so uncommon, so complete, and of such 2 a personal importance to so many people that we are suffering 2 a from a plethora of surmise, conjecture, and hypothesis. 16. The difficulty is to detach the framework of fact – of 2 d absolute undeniable fact -- from the embellishments of 2 d theorists and reporters. 17. Then, having established ourselves upon this sound basis, it is our duty to see what inferences may be drawn and what are 1 a the special points upon which the whole mystery turns. 18. On Tuesday evening I received telegrams from both Colonel Ross, the owner of the horse, and from Inspector Gregory, 3 a, c, d who is looking after the case, inviting my cooperation. 19. Because I made a blunder, my dear Watson -- which is, I am afraid, a more common occurrence than anyone would 6 a, d think who only knew me through your memoirs. 20. The fact is that I could not believe it possible that the most 2 a remarkable horse in England could long remain concealed, especially in so sparsely inhabited a place as the north of 2 a Dartmoor. 21. From hour to hour yesterday I expected to hear that he had been found, and that his abductor was the murderer of John 2 b Straker. 22. When, however, another morning had come and I found that beyond the arrest of young Fitzroy Simpson nothing had 2 b been done, I felt that it was time for me to take action. Yet in some ways I feel that yesterday has not been wasted. 23. At least I have got a grip of the essential facts of the case. 2 a 24. I shall enumerate them to you, for nothing clears up a case so 78 much as stating it to another person, and I can hardly expect your cooperation if I do not show you the position from 1 a which we start. 25. I lay back against the cushions, puffing at my cigar, while 1 d Holmes, leaning forward, with his long, thin forefinger 2 a checking off the points upon the palm of his left hand, gave 3 a, d me a sketch of the events which had led to our journey.
B. CRIME AND CLUES Noun Phrase Pattern Effects 26. He is now in his fifth year and has brought in turn each of the 7 a prizes of the turf to Colonel Ross, his fortunate owner. 27. Up to the time of the catastrophe he was the first favourite 2 a for the Wessex Cup, the betting being three to one on him. 2 b, d 28. He has always, however, been a prime favourite with the 2 a racing public and has never yet disappointed them, so that even at those odds enormous sums of money have been laid 2 a upon him. 29. It is obvious, therefore, that there were many people who had 4 a, d the strongest interest in preventing Silver Blaze from being there at the fall of the flag next Tuesday. 30. The fact was, of course, appreciated at King's Pyland, where 1 a, d the colonel's training-stable is situated. 31. The trainer, John Straker, is a retired jockey who rode in Colonel Ross's colours before he became too heavy for the 1 d weighing-chair. 32. Under him were three lads, for the establishment was a small 1 d one, containing only four horses in all. 33. One of these lads sat up each night in the stable, while the 2 a others slept in the loft. 34. John Straker, who is a married man lived in a small villa 1 d about two hundred yards from the stables. 2 a 35. The country round is very lonely, but about half a mile to the north there is a small cluster of villas which have been built 3 a, c, d by a Tavistock contractor for the use of invalids and others who may wish to enjoy the pure Dartmoor air. 36. Tavistock itself lies two miles to the west, while across the moor, also about two miles distant, is the larger training 3 a, d establishment of Mapleton, which belongs to Lord 79 Backwater and is managed by Silas Brown. 37. In every other direction the moor is a complete wilderness, 1 d inhabited only by a few roaming gypsies. 38. Such was the general situation last Monday night when the 1 a catastrophe occurred. 39. Two of the lads walked up to the trainer's house, where they 2 a had supper in the kitchen, while the third, Ned Hunter, 1 a, c, d remained on guard. 40. At a few minutes after nine the maid, Edith Baxter, carried down to the stables his supper, which consisted of a dish of 4 a, d curried mutton. 41. She took no liquid, as there was a water-tap in the stables, and it was the rule that the lad on duty should drink nothing else. 2 a 42. As she stepped into the circle of yellow light thrown by the 3 a, b lantern she saw that he was a person of gentlemanly 2 d bearing, dressed in a gray suit of tweeds, with a cloth cap. 2 a 43. He wore gaiters and carried a heavy stick with a knob to it. 2 a 44. She was most impressed, however, by the extreme pallor of his face and by the nervousness of his manner. 2 a 45. I had almost made up my mind to sleep on the moor when I saw the light of your lantern. 2 a, b 46. 'What a stroke of luck!' he cried. 2 a 47. Perhaps that is his supper which you are carrying to him. 1 c 48. Now I am sure that you would not be too proud to earn the 2 b price of a new dress, would you? 49. He took a piece of white paper folded up out of his 3 a, d waistcoat pocket. 50. See that the boy has this tonight, and you shall have the 1 a prettiest frock that money can buy. 51. She was frightened by the earnestness of his manner and ran 2 a past him to the window through which she was accustomed 1 a, d to hand the meals. 52. The girl has sworn that as he spoke she noticed the corner of 1 a, d the little paper packet protruding from his closed hand. 53. 'It's business that may put something into your pocket.' said 1 a the other. 54. 'So, you're one of those damned touts!' cried the lad. 2 a
80 55. A minute later, however, when Hunter rushed out with the 1 d hound he was gone, and though he ran all round the buildings 2 a he failed to find any trace of him. 56. The importance of the point struck me so forcibly that I sent 2 b a special wire to Dartmoor yesterday to clear the matter up. 57. It left him, however, vaguely uneasy, and Mrs. Straker, 1 d waking at one in the morning, found that he was dressing. 58. In reply to her inquiries, he said that he could not sleep on 2 a account of his anxiety about the horses, and that he intended 7 a to walk down to the stables to see that all was well. 59. She begged him to remain at home, as she could hear the rain pattering against the window, but in spite of her entreaties he 1 c, d pulled on his large mackintosh and left the house. 60. The door was open; inside, huddled together upon a chair, Hunter was sunk in a state of absolute stupor, the favourite's 2 a stall was empty, and there were no signs of his trainer. 2 a 61. The two lads who slept in the chaff-cutting loft above the 4 d harness-room were quickly aroused. 62. Hunter was obviously under the influence of some powerful drug, and as no sense could be got out of him, he was left to 2 b sleep it off while the two lads and the two women ran out in search of the absentees. 63. They still had hopes that the trainer had for some reason taken out the horse for early exercise, but on ascending the knoll near the house, from which all the neighbouring moors 1 d were visible, they not only could see no signs of the missing 2 a favourite, but they perceived something which warned them that they were in the presence of a tragedy. 4 a, c, d 64. About a quarter of a mile from the stables John Straker's 2 a overcoat was flapping from a furze-bush. 65. Immediately beyond there was a bowl-shaped depression in 2 a the moor, and at the bottom of this was found the dead body 2 a of the unfortunate trainer. 2 a 66. His head had been shattered by a savage blow from some 2 a heavy weapon, and he was wounded on the thigh, where there was a long, clean cut, inflicted evidently by some very 6 a, d sharp instrument. 67. It was clear, however, that Straker had defended himself vigorously against his assailants, for in his right hand he held a 1 a small knife, which was clotted with blood up to the handle,
81 while in his left he clasped a red and black silk cravat, 6 a, c, d which was recognized by the maid as having been worn on the preceding evening by the stranger who had visited the stables. 68. Hunter, on recovering from his stupor, was also quite 1 d positive as to the ownership of the cravat. 2 a, b 69. He was equally certain that the same stranger had, while standing at the window, drugged his curried mutton, and so deprived the stables of their watchman. 2 a 70. As to the missing horse, there were abundant proofs in the mud which lay at the bottom of the fatal hollow that he had 5 a, c, d been there at the time of the struggle. 71. But from that morning he has disappeared, and although a large reward has been offered, and all the gypsies of 2 a, b Dartmoor are on the alert, no news has come of him. 72. Finally, an analysis has shown that the remains of his supper 3 a left by the stable-lad contained an appreciable quantity of 2 a, d powdered opium, while the people at the house partook of 2 a the same dish on the same night without any ill effect. 73. Those are the main facts of the case, stripped of all surmise, 3 a, d and stated as baldly as possible. 74. Inspector Gregory, to whom the case has been committed, 1 a, d is an extremely competent officer. 75. Were he but gifted with imagination he might rise to great 2 a heights in his profession. 76. On his arrival he promptly found and arrested the man upon 1 a whom suspicion naturally rested. 77. There was little difficulty in finding him, for he inhabited one 3 a, c of those villas which I have mentioned. 78. He was a man of excellent birth and education, who had 5 a, c, d squandered a fortune upon the turf. 79. And who lived now by doing a little quiet and genteel book- 7 a, d making in the sporting clubs of London. 80. An examination of his betting-book shows that bets to the 2 a, b amount of five thousand pounds had been registered by him 7 a, d against the favourite. 81. On being arrested he volunteered the statement that he had come down to Dartmoor in the hope of getting some 7 a information about the King's Pyland horses, and also about
82 Desborough, the second favourite, which was in charge of 4 a, c, d Silas Brown at the Mapleton stables. 82. When confronted with his cravat he turned very pale and was utterly unable to account for its presence in the hand of the 7 a, b murdered man. 83. His wet clothing showed that he had been out in the storm of 2 a the night before, and his stick, which was a penang-lawyer 6 a, c weighted with lead, was just such a weapon as might, by repeated blows, have inflicted the terrible injuries to which the trainer had succumbed. 1 a, c 84. On the other hand, there was no wound upon his person, while 2 a the state of Straker's knife would show that one at least of 2 a his assailants must bear his mark upon him. 2 a 85. I had listened with the greatest interest to the statement which 1 a, c Holmes, with characteristic clearness, had laid before me. 86. Though most of the facts were familiar to me, I had not 2 a sufficiently appreciated their relative importance, nor their 2 b connection to each other. 87. "Is it not possible," I suggested, "that the incised wound upon Straker may have been caused by his own knife in the 3 a, c convulsive struggles which follow any brain injury?" 88. In that case one of the main points in favour of the accused 7 a disappears. 89. The police imagine, I take it, that this Fitzroy Simpson, having drugged the lad, and having in some way obtained a 1 d duplicate key, opened the stable door and took out the horse, with the intention, apparently, of kidnapping him altogether. 90. Simpson beat out the trainer's brains with his heavy stick without receiving any injury from the small knife which Straker used in self-defence, and then the thief either led the 1 a, d horse on to some secret hiding-place, or else it may have bolted during the struggle, and be now wandering out on the moors. 91. It was evening before we reached the little town of Tavistock, which lies, like the boss of a shield, in the middle of the 5 a, c, d huge circle of Dartmoor. 92. Two gentlemen were awaiting us in the station – the one a tall, 2 d fair man with lion-like hair and beard and curiously penetrating light blue eyes; the other a small, alert person, 7 d very neat and dapper, in a frock-coat and gaiters, with trim little side-whiskers and an eyeglass.
83 93. The latter was Colonel Ross, the well-known sportsman; the other, Inspector Gregory; a man who was rapidly making 1 d his name in the English detective service. 94. The inspector here has done all that could possibly be suggested, but I wish to leave no stone unturned in trying to 1 a avenge poor Straker and in recovering my horse. 95. Inspector Gregory was full of his case and poured out a stream of remarks, while Holmes threw in an occasional 2 a question or interjection. 96. Colonel Ross leaned back with his arms folded and his hat tilted over his eyes, while I listened with interest to the 2 a, b dialogue of the two detectives. 97. Gregory was formulating his theory, which was almost 1 a, d exactly what Holmes had foretold in the train. 98. He has neither a knife nor any sign of a wound. 2 a 99. The evidence against him is certainly very strong. 2 a 100. He had a great interest in the disappearance of the 7 a, b favourite. 101. He lies under suspicion of having poisoned the stable-boy; he was undoubtedly out in the storm; he was armed with a 2 a heavy stick, and his cravat was found in the dead man's hand. 102. Above all, where could he, a stranger to the district, hide a 2 a horse, and such a horse as this? 103. What is his own explanation as to the paper which he wished 1 a the maid to give to the stable-boy? 104. He is not a stranger to the district. 2 a 105. The key, having served its purpose, would be hurled away. 1 d 106. The horse may be at the bottom of one of the pits or old 7 a mines upon the moor. 2 a 107. But a new element has been introduced into the case which 1 a, c may account for his leading the horse from the stable. 108. We have found traces which show that a party of gypsies encamped on Monday night within a mile of the spot where 6 c, d the murder took place. 109. On Tuesday they were gone. Now, presuming that there was some understanding between Simpson and these gypsies, 2 a might he not have been leading the horse to them when he was overtaken, and may they not have him now?
84 110. I have also examined every stable and outhouse in Tavistock, 2 a and for a radius of ten miles. 111. Yes, and that is a factor which we must certainly not 1 a neglect. 112. As Desborough, their horse, was second in the betting, they 7 a had an interest in the disappearance of the favourite. 113. Silas Brown, the trainer, is known to have had large bets upon 2 a the event, and he was no friend to poor Straker. 2 d 114. And nothing to connect this man Simpson with the interests 2 a of the Mapleton stables? 115. A few minutes later our driver pulled up at a neat little red- brick villa with overhanging eaves which stood by the 3 a, c, d road. 116. In every other direction the low curves of the moor, bronze- 3 a, d coloured from the fading ferns, stretched away to the sky- line, broken only by the steeples of Tavistock, and by a 2 a cluster of houses away to the westward which marked the 3 a, c Mapleton stables. 117. We all sprang out with the exception of Holmes, who continued to lean back with his eyes fixed upon the sky in 4 d front of him, entirely absorbed in his own thoughts. 118. "Excuse me," said he, turning to Colonel Ross, who had 1 d looked at him in some surprise. 119. There was a gleam in his eyes and a suppressed excitement 2 a in his manner which convinced me, used as I was to his 3 a, c, d ways, that his hand was upon a clue, though I could not imagine where he had found it. 120. "Perhaps you would prefer at once to go on to the scene of the 2 a crime, Mr. Holmes?" said Gregory. 121. I think that I should prefer to stay here a little and go into one 2 a or two questions of detail. 122. I presume that you made an inventory of what he had in his 4 a, c pockets at the time of his death, Inspector?
C. INVESTIGATION Noun Phrase Pattern Effects 123. We all filed into the front room and sat round the central table while the inspector unlocked a square tin box and laid a small 2 a heap of things before us.
85 124. There was a box of vestas, two inches of tallow candle. 2 a 2 a 125. An A D P brier-root pipe, a pouch of sealskin with half an 7 a ounce of long-cut Cavendish, a silver watch with a gold 2 a chain, five sovereigns in gold, an aluminum pencil-case, a 2 a few papers, and an ivory-handled knife with a very delicate, inflexible blade marked Weiss & Co., London. 3 a 126. I presume, as I see blood-stains upon it, that it is the one 2 a which was found in the dead man's grasp. 1 d 127. A very delicate blade devised for very delicate work. 1 a, d 128. "The tip was guarded by a disc of cork which we found 3 a, c beside his body," said the inspector. 129. It was a poor weapon, but perhaps the best that he could lay 1 c, d his hands on at the moment. 130. Three of them are receipted hay-dealers' accounts. 2 a 131. One of them is a letter of instructions from Colonel Ross. 2 a 7 a, b 132. This other is a milliner's account for thirty-seven pounds fifteen made out by Madame Lesurier, of Bond Street, to 5 a, d William Derbyshire. 133. Mrs. Straker tells us that Derbyshire was a friend of her husband's and that occasionally his letters were addressed 2 a, b here. 134. However, there appears to be nothing more to learn, and we 2 a may now go down to the scene of the crime. 2 a 135. As we emerged from the sitting-room a woman, who had been waiting in the passage, took a step forward and laid her 1 a, d hand upon the inspector's sleeve. 136. Her face was haggard and thin and eager, stamped with the 2 a, b print of a recent horror. 137. You wore a costume of dove-coloured silk with ostrich- 7 a feather trimming. 138. A short walk across the moor took us to the hollow in which 2 a the body had been found. 1 c 139. At the brink of it was the furze-bush upon which the coat 2 a had been hung. 1 c 140. In this bag I have one of the boots which Straker wore, one 3 a, c of Fitzroy Simpson's shoes, and a cast horseshoe of Silver 2 a Blaze. 2 a
86 141. Then stretching himself upon his face and leaning his chin upon his hands, he made a careful study of the trampled 7 a mud in front of him. 142. It was a wax vesta, half burned, which was so coated with 1 a, c, d mud that it looked at first like a little chip of wood. 2 a 143. "I cannot think how I came to overlook it," said the inspector 2 a, b with an expression of annoyance. 144. He took the boots from the bag and compared the impressions 7 a, b of each of them with marks upon the ground. 2 a 145. Then he clambered up to the rim of the hollow and crawled 2 a about among the ferns and bushes. 146. I have examined the ground very carefully for a hundred 2 d yards in each direction. 147. But I should like to take a little walk over the moor before it grows dark that I may know my ground to-morrow, and I think 2 a that I shall put this horseshoe into my pocket for luck." 148. Colonel Ross, who had shown some signs of impatience at my companion's quiet and systematic method of work, 4 c, d glanced at his watch.
149. There are several points on which I should like your advice, 1 a, c and especially as to whether we do not owe it to the public to remove our horse's name from the entries for the cup. 2 a
150. The sun was beginning to sink behind the stable of Mapleton, 2 a and the long sloping plain in front of us was tinged with 2 a gold, deepening into rich, ruddy browns where the faded ferns and brambles caught the evening light. 6 d 151. But the glories of the landscape were all wasted upon my 2 a companion, who was sunk in the deepest thought. 1 c, d 152. We may leave the question of who killed John Straker for the instant and confine ourselves to finding out what has 1 a become of the horse. 153. This part of the moor, as the inspector remarked, is very hard 2 a and dry. 154. But it falls away towards Mapleton, and you can see from here that there is a long hollow over yonder, which must have 3 a, c been very wet on Monday night. 155. If our supposition is correct, then the horse must have crossed that, and there is the point where we should look for his 1 a tracks. 87 156. We had been walking briskly during this conversation, and a 2 a few more minutes brought us to the hollow in question. 157. The track of a horse was plainly outlined in the soft earth in 2 a front of him, and the shoe which he took from his pocket 2 a exactly fitted the impression. 1 a, c 158. "See the value of imagination," said Holmes. 2 b 159. "It is the one quality which Gregory lacks. 1 a 160. We crossed the marshy bottom and passed over a quarter of a 2 a mile of dry, hard turf. 161. It was Holmes who saw them first, and he stood pointing 1 c with a look of triumph upon his face. 7 a 162. His eyes were on the trail, but I happened to look a little to one side and saw to my surprise the same tracks coming back 1 c, d again in the opposite direction. 163. You have saved us a long walk, which would have brought 1 c, d us back on our own traces. 164. It ended at the paving of asphalt which led up to the gates of 5 a, d the Mapleton stables. 165. As Sherlock Holmes replaced the half-crown which he had 1 a, d drawn from his pocket, a fierce-looking elderly man strode out from the gate with a hunting-crop swinging in his hand. 1 d 166. "Ten minutes' talk with you, my good sir," said Holmes in the 2 a sweetest of voices. 167. I've no time to talk to every gadabout. 2 a 168. His face was ashy pale, beads of perspiration shone upon his 2 a brow, and his hands shook until the hunting-crop wagged like 2 a a branch in the wind. 169. The other winced as he read the menace in his eyes. 2 a 170. He turned upon his heel, disregarding the trembling hand which the other held out to him, and we set off for King's 1 c Pyland. 171. "A more perfect compound of the bully, coward, and sneak than Master Silas Brown I have seldom met with," remarked 2 a Holmes as we trudged along together. 172. He tried to bluster out of it, but I described to him so exactly what his actions had been upon that morning that he is 2 a convinced that I was watching him.
88 173. Of course you observed the peculiarly square toes in the impressions, and that his own boots exactly corresponded to 2 a them. 174. I described to him how, when according to his custom he was the first down, he perceived a strange horse wandering over 1 a, d the moor. 175. How he went out to it, and his astonishment at recognizing, 1 a from the white forehead which has given the favourite its name, that chance had put in his power the only horse which 6 a, c, d could beat the one upon which he had put his money. 176. Oh, an old horse-faker like him has many a dodge. 2 a 177. But are you not afraid to leave the horse in his power now 2 a since he has every interest in injuring it? 178. My dear fellow, he will guard it as the apple of his eye. 2 b 179. He knows that his only hope of mercy is to produce it safe. 2 a 180. Colonel Ross did not impress me as a man who would be 1 c, d likely to show much mercy in any case. 181. That is the advantage of being unofficial. 2 a 182. I don't know whether you observed it, Watson, but the 2 a colonel's manner has been just a trifle cavalier to me. 183. I am inclined now to have a little amusement at his expense.2 a 184. And of course this is all quite a minor point compared to the 1 a, c question of who killed John Straker. 185. We had only been a few hours in Devonshire, and that he should give up an investigation which he had begun so 1 a, c brilliantly was quite incomprehensible to me. 186. We have had a charming little breath of your beautiful 2 a Dartmoor air. 187. "So you despair of arresting the murderer of poor Straker," 2 a said he. 188. Might I ask for a photograph of Mr. John Straker? 2 a 189. If I might ask you to wait here for an instant, I have a question 1 a, c which I should like to put to the maid. 190. "Yes, I have his assurance," said the colonel with a shrug of 2 a, b his shoulders. 191. I was about to make some reply in defence of my friend 7 a when he entered the room again.
89 192. As we stepped into the carriage one of the stable-lads held the 2 a door open for us. 193. "You have a few sheep in the paddock," he said. 2 a 194. Well, sir, not of much account, but three of them have gone 2 a lame, sir. 195. Gregory, let me recommend to your attention this singular 2 a epidemic among the sheep. 196. Colonel Ross still wore an expression which showed the poor opinion which he had formed of my companion's ability, but 6 a, c, d I saw by the inspector's face that his attention had been keenly aroused. 197. Is there any point to which you would wish to draw my 1 c attention? 198. To the curious incident of the dog in the night-time. 7 a
D. ANNOUNCEMENT OF THE SOLUTION Noun Phrase Pattern Effects 199. Four days later Holmes and I were again in the train, bound 2 a, b for Winchester to see the race for the Wessex Cup. 200. Colonel Rloss met us by appointment outside the station, 2 a and we drove in his drag to the course beyond the town. 2 a 201. A child would know Silver Blaze with his white forehead 2 d and his mottled off-foreleg. 202. Well, that is the curious part of it. 2 a 203. You could have got fifteen to one yesterday, but the price has 2 a become shorter and shorter, until you can hardly get three to 2 a one now. 204. As the drag drew up in the enclosure near the grandstand I 2 a glanced at the card to see the entries. 205. Duke of Balmoral's Iris. 2 a 206. As I spoke a powerful bay horse swept out from the weighing enclosure and cantered past us, bearing on its back the well- 2 a known black and red of the colonel. 207. The six horses were so close together that a carpet could have covered them, but halfway up the yellow of the Mapleton 2 a stable showed to the front. 208. Before they reached us, however, Desborough's bolt was shot, 90 and the colonel's horse, coming away with a rush, passed 4 c, d the post a good six lengths before its rival, the Duke of Balmoral's Iris making a bad third. 209. “Here he is," he continued as we made our way into the weighing enclosure, where only owners and their friends 1 a, d find admittance. 210. You have only to wash his face and his leg in spirits of wine, 2 a and you will find that he is the same old Silver Blaze as ever. 211. I found him in the hands of a faker and took the liberty of 2 a running him just as he was sent over. 2 a 212. You would do me a greater still if you could lay your hands on 2 a the murderer of John Straker. 213. In my company at the present moment. 2 b 214. He stepped past and laid his hand upon the glossy neck of the 2 a thoroughbred. 215. And it may lessen his guilt if I say that it was done in self- defence, and that John Straker was a man who was entirely 1 c, d unworthy of your confidence.
E. EXPLANATION OF THE SOLUTION Noun Phrase Pattern Effects 216. We had the corner of a Pullman car to ourselves that 2 a, b evening as we whirled back to London, and I fancy that the journey was a short one to Colonel Ross as well as to myself 3 a, c, d as we listened to our companion's narrative of the events which had occurred at the Dartmoor training-stables upon that Monday night, and the means by which he had 1 c unravelled them. 217. "I confess," said he, "that any theories which I had formed 1 a, c from the newspaper reports were entirely erroneous. 218. And yet there were indications there, had they not been 1 a, c overlaid by other details which concealed their true import. 219. I went to Devonshire with the conviction that Fitzroy Simpson 2 a was the true culprit, although, of course, I saw that the evidence against him was by no means complete. 220. It was while I was in the carriage, just as we reached the 2 b trainer's house, that the immense significance of the curried mutton occurred to me. 221. It was the first link in my chain of reasoning. 7 a 91 222. A curry was exactly the medium which would disguise this 1 c taste. 223. By no possible supposition could this stranger, Fitzroy Simpson, have caused curry to be served in the trainer's family that night, and it is surely too monstrous a coincidence to suppose that he happened to come along with powdered opium upon the very night when a dish happened to be served 1 a, c which would disguise the flavour. 224. Therefore Simpson becomes eliminated from the case, and our attention centres upon Straker and his wife, the only two 1 d people who could have chosen curried mutton for supper that night. 225. Before deciding that question I had grasped the significance 7 a of the silence of the dog, for one true inference invariably suggests others. 226. The Simpson incident had shown me that a dog was kept in the stables, and yet, though someone had been in and had 2 a fetched out a horse, he had not barked enough to arouse the two lads in the loft. 227. Obviously the midnight visitor was someone whom the dog 1 a knew well. 228. I was already convinced, or almost convinced, that John Straker went down to the stables in the dead of the night and 2 a took out Silver Blaze. 229. There have been cases before now where trainers have 3 a, c made sure of great sums of money by laying against their own horses through agents and then preventing them from winning by fraud. 230. I hoped that the contents of his pockets might help me to 2 a form a conclusion. 231. You cannot have forgotten the singular knife which was 1 a, d found in the dead man's hand, a knife which certainly no 1 a, c sane man would choose for a weapon. 232. It was, as Dr. Watson told us, a form of knife which is used 3 a, c, d for the most delicate operations known in surgery. 233. You must know, with your wide experience of turf matters, 2 b Colonel Ross, that it is possible to make a slight nick upon 7 a the tendons of a horse's ham, and to do it subcutaneously, so as to leave absolutely no trace. 234. A horse so treated would develop a slight lameness, which 92 would be put down to a strain in exercise or a touch of 4 c, d rheumatism, but never to foul play. 235. We have here the explanation of why John Straker wished 1 a to take the horse out on to the moor. 236. So spirited a creature would have certainly roused the 2 a soundest of sleepers when it felt the prick of the knife. 237. But in examining his belongings I was fortunate enough to 2 a discover not only the method of the crime but even its motives. 238. As a man of the world, Colonel, you know that men do not 2 a carry other people's bills about in their pockets. 239. We have most of us quite enough to do to settle our own. 2 a 240. The nature of the bill showed that there was a lady in the 2 b case, and one who had expensive tastes. 2 a 1 a 241. I questioned Mrs. Straker as to the dress without her knowing it, and, having satisfied myself that it had never reached her, I 2 b made a note of the milliner's address and felt that by calling there with Straker's photograph I could easily dispose of the mythical Derbyshire. 242. Straker had led out the horse to a hollow where his light 1 c would be invisible. 243. Once in the hollow, he had got behind the horse and had struck a light; but the creature, frightened at the sudden glare, and 2 a, b with the strange instinct of animals feeling that some mischief was intended, had lashed out, and the steel shoe had struck Straker full on the forehead. 244. And I asked a question which, rather to my surprise, 1 c, d showed that my surmise was correct. 245. When I returned to London I called upon the milliner, who 4 c, d had recognized Straker as an excellent customer of the name of Derbyshire. who had a very dashing wife, with a strong partiality for expensive dresses. 246. And was cared for by one of your neighbours. 2 a
F. DENOUEMENT Noun Phrase Pattern Effects 247. I shall be happy to give you any other details which might 1 a, c interest you.
93 Appendix 2 Noun Phrases Post-modified by Prepositional Phrases and Relative Clauses in The Adventure of the Sussex Vampire in order of Their Appearance
A. INTRODUCTION OF THE DETECTIVE Noun Phrase Pattern Effects 1. Holmes had read carefully a note which the last post had 1 a brought him. 2. Then, with the dry chuckle which was his nearest approach 1 c to a laugh, he tossed it over to me. 3. “For a mixture of the modern and the mediaeval, of the 7 a, b practical and of the wildly fanciful, I think this is surely the limit," said he. 4. Our client, Mr. Robert Ferguson, of Ferguson and 2 d Muirhead, tea brokers, of Mincing Lane, has made some 2 d inquiry from us in a communication of even date concerning 3 a vampires. 5. As our firm specializes entirely upon the assessment of 2 b machinery the matter hardly comes within our purview, and we have therefore recommended Mr. Ferguson to call upon you and lay the matter before you. 6. We have not forgotten your successful action in the case of 7 a, b Matilda Briggs. 7. "Matilda Briggs was not the name of a young woman, 2 b Watson," said Holmes in a reminiscent voice. 8. It was a ship which is associated with the giant rat of 4 d Sumatra, a story for which the world is not yet prepared. 1 d 9. I leaned back and took down the great index volume to 1 a which he referred. 10. Holmes balanced it on his knee, and his eyes moved slowly 5 a and lovingly over the record of old cases, mixed with the accumulated information of a lifetime. 11. "Voyage of the Gloria Scott," he read. 2 a 12. I have some recollection that you made a record of it, 4 a, c Watson, though I was unable to congratulate you upon the result. 13. Vampirism in Hungary. 2 a
94 14. And again, Vampires in Transylvania. 2 a 15. He turned over the pages with eagerness, but after a short 2 c intent perusal he threw down the great book with a snarl of disappointment. 16. Rubbish, Watson, rubbish! What have we to do with walking 6 c, d corpses who can only be held in their grave by stakes driven through their hearts? 17. I have read, for example, of the old sucking the blood of the 2 a young in order to retain their youth. 18. It mentions the legend in one of these references. 2 d 19. Possibly this note may be from him and may throw some light 1 c, d upon what is worrying him. 20. He took up a second letter which had lain unnoticed upon 1 a the table while he had been absorbed with the first. 21. This he began to read with a smile of amusement upon his 5 c, d face which gradually faded away into an expression of intense interest and concentration. 22. When he had finished he sat for some little time lost in thought 1 d with the letter dangling from his fingers. 23. It is in Sussex, South of Horsham. 2 a 24. It is full of old houses which are named after the men who 6 a, c, d built them centuries ago. 25. It was one of the peculiarities of his proud, self-contained 2 a, c, d nature that though he docketed any fresh information very quietly and accurately in his brain, he seldom made any acknowledgment to the giver. 26. It was headed with the address quoted. 1 a
B. CRIME AND CLUES Noun Phrase Pattern Effects 27. It concerns a friend for whom I am acting. 1 a, d 28. This gentleman married some five years ago a Peruvian lady 5 a, b, d the daughter of a Peruvian merchant, whom he had met in connection with the importation of nitrates. 29. The lady was very beautiful, but the fact of her foreign birth 7 a and of her alien religion always caused a separation of 7 a interests and of feelings between husband and wife, so that after a time his love may have cooled towards her and he may 95 have come to regard their union as a mistake. 30. He felt there were sides of her character which he could 3 a never explore or understand. 31. This was the more painful as she was as loving a wife as a man 1 a could have — to all appearance absolutely devoted. 32. Now for the point which I will make more plain when we 1 a, c meet. 33. Indeed, this note is merely to give you a general idea of the 2 a situation and to ascertain whether you would care to interest yourself in the matter. 34. The gentleman had been married twice and he had one son by 2 a, b, d the first wife. 35. This boy was now fifteen, a very charming and affectionate 2 a, d youth, though unhappily injured through an accident in childhood. 36. Twice the wife was caught in the act of assaulting this poor 2 d lad in the most unprovoked way. 37. Once she struck him with a stick and left a great weal on his 2 a arm. 38. This was a small matter, however, compared with her 4 d conduct to her own child, a dear boy just under one year of a, d age. 39. On one occasion about a month ago this child had been left 2 a by its nurse for a few minutes. 40. A loud cry from the baby, as of pain, called the nurse back. 2 a, b 41. There was a small wound in the neck from which a stream 5 a, c, d of blood had escaped. 42. The nurse was so horrified that she wished to call the husband, 2 a but the lady implored her not to do so and actually gave her five pounds as a price for her silence. 43. It left, however, a terrible impression upon the nurse's 2 a, b mind, and from that time she began to watch her mistress 3 d closely and to keep a closer guard upon the baby, whom she tenderly loved. 44. At last there came one dreadful day when the facts could no 1 a longer be concealed from the husband. 45. The nurse's nerve had given way; she could stand the strain no 2 d longer, and she made a clean breast of it all to the man.
96 46. He knew his wife to be a loving wife, and, save for the 2 d assaults upon her stepson, a loving mother. 47. He told the nurse that she was dreaming, that her suspicions 2 a were those of a lunatic, and that such libels upon her 2 a mistress were not to be tolerated. 48. While they were talking a sudden cry of pain was heard. 2 a 49. Imagine his feelings, Mr. Holmes, as he saw his wife rise from 2 a a kneeling position beside the cot and saw blood upon the 7 a, d child's exposed neck and upon the sheet. 50. With a cry of horror, he turned his wife's face to the light and 2 a saw blood all round her lips. 2 a, d 51. It was she — she beyond all question — who had drunk the 1 d poor baby's blood. 52. He knows, and I know, little of vampirism beyond the name. 7 a 53. We had thought it was some wild tale of foreign parts. 2 a, b 54. And yet here in the very heart of the English Sussex — well, 2 a, b all this can be discussed with you in the morning. 55. It is the only personal introduction which I can give. 1 a, c 56. There are unexplored possibilities about you. 2 a, b 57. We must not let him think that this agency is a home for the 1 a, b weak-minded. 58. I had remembered him as a long, slab-sided man with loose 2 a limbs and a fine turn of speed which had carried him round 3 a, d many an opposing back. 59. There is surely nothing in life more painful than to meet the 3 a wreck of a fine athlete whom one has known in his prime. 60. I fear that I roused corresponding emotions in him. 2 a 61. You don't look quite the man you did when I threw you over 7 a the ropes into the crowd at the Old Deer Park. 62. But it's this last day or two that has aged me. 1 d 63. But you can imagine how difficult it is when you are speaking 1 a, c, d of the one woman whom you are bound to protect and help. 64. Have you any similar case in your experience? 2 a 65. She gave no answer to my reproaches, save to gaze at me 2 a with a sort of wild, despairing look in her eyes. 7 a
97 66. She has a maid who was with her before her marriage, 1 a, d Dolores by name — a friend rather than a servant. 67. Holmes had picked up the letter of yesterday and was reading 2 a, b it over. 68. Two servants who have not been long with us. One 1 a, d stablehand, Michael, who sleeps in the house. 1 a, d 69. It is eminently a case for personal investigation. 2 a 70. Ferguson gave a gesture of relief. 2 a 71. It is what I hoped, Mr. Holmes. There is an excellent train at 7 a, d two from Victoria if you could come. 72. There is a lull at present. 2 a, b 73. But there are one or two points upon which I wish to be very 1 a, c sure before I start. 74. Did she give no explanation why she struck him? 1 a 75. Yes, she is very jealous — jealous with all the strength of her 2 a, b fiery tropical love. 76. Did he give you no explanation of these assaults? 2 a 77. No doubt you and the boy were great comrades before this 2 a, d second marriage. 78. And the boy, having so affectionate a nature, was devoted, 1 d no doubt, to the memory of his mother? 2 a 79. There is one other point about these assaults. 2 a, b 80. Were the strange attacks upon the baby and the assaults 2 a upon your son at the same period? 2 a 81. In the second case it was only Jack who suffered. 1 a, d
C. INVESTIGATION Noun Phrase Pattern Effects 82. It was evening of a dull, foggy November day when, having 5 a, d left our bags at the Chequers, Lamberley, we drove through the Sussex clay of a long winding lane and finally reached the isolated and ancient farmhouse in which 1 a, c, d Ferguson dwelt. 83. It was a large, straggling building, very old in the center, very 2 a, d new at the wings with towering Tudor chimneys and a lichen- spotted, high-pitched roof of Horsham slabs. 98 84. The doorsteps were worn into curves, and the ancient tiles 1 c which lined the porch were marked with the rebus of a 2 c cheese and a man after the original builder. 2 c 85. Within, the ceilings were corrugated with heavy oaken beams, 1 a and the uneven floors sagged into sharp curves. 86. An odor of age and decay pervaded the whole crumbling 2 a building. 87. There was one very large central room into which Ferguson 1 a, c, d led us. 88. The room, as I gazed round, was a most singular mixture of 7 a, d dates and of places. 89. The half-panelled walls may well have belonged to the 2 a, d original yeoman farmer of the seventeenth century. 90. They were ornamented, however, on the lower part by a line 2 a of well-chosen modern watercolors; while above, where 1 d yellow plaster took the place of oak, there was hung a fine 3 a, c, d collection of South American utensils and weapons, which had been brought, no doubt, by the Peruvian lady upstairs. 91. Holmes rose, with that quick curiosity which sprang from 1 a, d his eager mind, and examined them with some care. 92. A spaniel had lain in a basket in the corner. 2 a 93. A sort of paralysis. 2 a 94. A shiver of assent passed through the drooping tail. 2 a 95. A confirmation of what I had already thought. 1 a, c 96. It may be a mere intellectual puzzle to you, but it is life and 2 a death to me! 2 a 97. He was away some minutes, during which Holmes resumed 4 a, d his examination of the curiosities upon the wall. 98. Ferguson looked at me with a question in his eyes. 2 a 99. I followed the girl, who was quivering with strong emotion, 1 c, d up the staircase and down an ancient corridor. 100. I passed in and she swiftly followed, fastening the door 2 a behind her. 101. On the bed a woman was lying who was clearly in a high 1 d fever. 102. She was only half conscious, but as I entered she raised a pair 2 a, d of frightened but beautiful eyes and glared at me in
99 apprehension. 103. No, no, I cannot forget those terrible words nor the look upon 2 a his face. 104. I have a right to my child. 2 a 105. I returned to the room downstairs, where Ferguson and 1 a, c, d Holmes still sat by the fire. 106. Ferguson listened moodily to my account of the interview. 2 a 107. How can I ever forget how she rose from beside it with its 2 a blood upon her lips? 108. A smart maid, the only modern thing which we had seen in 1 a, c, d the house, had brought in some tea. 109. He was a remarkable lad, pale-faced and fair-haired, with 4 a, c, d excitable light blue eyes which blazed into a sudden flame of emotion and joy as they rested upon his father. 110. He rushed forward and threw his arms round his neck with the 2 b, d abandon of a loving girl. 111. Ferguson gently disengaged himself from the embrace with 2 a some little show of embarrassment. 112. Might we make the acquaintance of the baby? 2 b 113. The boy went off with a curious, shambling gait which told 1 a, c, d my surgical eyes that he was suffering from a weak spine. 114. Presently he returned, and behind him came a tall, gaunt 4 a, d woman bearing in her arms a very beautiful child, dark- eyed, golden-haired, a wonderful mixture of the Saxon and the Latin. 115. "Fancy anyone having the heart to hurt him," he muttered 1 a as he glanced down at the small, angry red pucker upon the 2 a, d cherub throat. 116. It was at this moment that I chanced to glance at Holmes 1 a and saw a most singular intentness in his expression. 2 a 117. His face was as set as if it had been carved out of old ivory, 1 c, d and his eyes, which had glanced for a moment at father and child, were now fixed with eager curiosity upon something 7 a, d at the other side of the room. 118. It is true that a shutter had half closed outside and obstructed 1 a, d the view, but none the less it was certainly at the window that Holmes was fixing his concentrated attention.
100 119. Finally he shook one of the dimpled fists which waved in 3 a, d front of him. 120. You have made a strange start in life. 2 a 121. I only heard the last words, which were: "Your anxiety will 1 a, d soon, I hope, be set at rest." 122. The woman, who seemed to be a sour, silent kind of 4 a, d creature, withdrew with the child. 123. Not very prepossessing externally, as you can see, but a heart 2 a, b of gold, and devoted to the child. 124. Luckily I am one of his likes. 2 a 125. It must be an exceedingly delicate and complex affair from 7 a your point of view.
D. ANNOUNCEMENT OF THE SOLUTION Noun Phrase Pattern Effects 126. It has been a case for intellectual deduction, but when this 2 a original intellectual deduction is confirmed point by point by quite a number of independent incidents, then the subjective becomes objective and we can say confidently that we have reached our goal. 127. "For heaven's sake, Holmes," he said hoarsely; "if you can see 2 a the truth in this matter, do not keep me in suspense.” 128. He scribbled a few lines upon a sheet of paper. 2 a, d 129. I ascended again and handed the note to Dolores, who 1 a, d cautiously opened the door. 130. A minute later I heard a cry from within, a cry in which joy 2 a and surprise seemed to be blended. 1 a, c, d 131. As we entered the room Ferguson took a step or two towards 1 a, c his wife, who had raised herself in the bed, but she held out her hand to repulse him. 132. He sank into an armchair, while Holmes seated himself beside 1 a, d him, after bowing to the lady, who looked at him with wide- eyed amazement.
101 E. EXPLANATION OF THE SOLUTION Noun Phrase Pattern Effects 133. Now, Mr. Ferguson, I am a busy man with many calls, and 2 a my methods have to be short and direct. 134. Ferguson sat up with a cry of joy. 2 a 135. Everything on earth is insignificant compared to that. 2 a 136. Let me tell you, then, the train of reasoning which passed 3 a, c through my mind in Baker Street. 137. The idea of a vampire was to me absurd. 2 a 138. Such things do not happen in criminal practice in England. 2 a 139. You had seen the lady rise from beside the child's cot with the 2 a, d blood upon her lips. 140. Did it not occur to you that a bleeding wound may be sucked 2 d for some other purpose than to draw the blood from it? 141. Was there not a queen in English history who sucked such a 1 a wound to draw poison from it? 142. My instinct felt the presence of those weapons upon the wall 7 a, c, d before my eyes ever saw them. 143. When I saw that little empty quiver beside the small 2 a, d birdbow, it was just what I expected to see. 144. If the child were pricked with one of those arrows dipped in 3 a, d curare or some other devilish drug, it would mean death if the venom were not sucked out. 145. His face was clearly reflected in the glass of the window 3 a, d where the shutter formed a background. 146. It is the more painful because it is a distorted love, a maniacal 2 a exaggerated love for you, and possibly for his dead mother, 1 d which has prompted his action. 147. His very soul is consumed with hatred for this splendid child, 4 a, d whose health and beauty are a contrast to his own weakness. 148. When this gentleman, who seems to have powers of magic, 4 d wrote that he knew all, I was glad. 149. I think a year at sea would be my prescription for Master 2 a Jacky," said Holmes, rising from his chair. 150. There is a limit to a mother's patience. 2 a
102 F. DENOUEMENT Noun Phrase Pattern Effects 151. If you will take one elbow of the too faithful Dolores, I will 2 a take the other. 152. “There, now," he added as he closed the door behind him, "I 2 a, d think we may leave them to settle the rest among themselves." 153. I have only one further note of this case. 2 a 154. It is the letter which Holmes wrote in final answer to that 1 a, c, d with which the narrative begins. 155. Referring to your letter of the 19th, I beg to state that I have 2 a looked into the inquiry of your client, Mr. Robert Ferguson, 2 a, d of Ferguson and Muirhead, tea brokers, of Mincing Lane, 2 a, d and that the matter has been brought to a satisfactory conclusion. 156. With thanks for your recommendation, I am, sir, Faithfully 2 a yours, SHERLOCK HOLMES.
Notes on the codes used in the appendices Pattern: 1. Noun phrase + relative clauses 2. Noun phrase + prepositional phrase 3. (Noun Phrase + prepositional phrase) modified by relative clause 4. Noun phrase + relative clause with (noun phrase + prepositional) phrase in it 5. (Noun Phrase + prepositional phrase) modified by relative clause with (noun phrase + prepositional phrase) in it 6. Noun Phrase + relative clause with another noun phrase + relative clause 7. Noun Phrase + prepositional phrases
Effect: a. Giving more distinctive or specific or descriptive explanation about an object so that it limits to certain extent b. Avoiding discontinuity or ambiguity c. Maximizing the explicitness d. Supplying essential and or additional information
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