Illocutionary Act in Song Lyrics of Ed Sheeran's Divide

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ILLOCUTIONARY ACT IN SONG LYRICS OF ED SHEERAN’S DIVIDE

ALBUM

A THESIS

By:

NONI NOVYANTI

REG. NO. 140705106

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN 2019

UNIVERSITAS SUMATERA UTARA ILLOCUTIONARY ACT IN SONG LYRICS OF ED SHEERAN’S DIVIDE ALBUM

A THESIS

NONI NOVYANTI REG. NO. 140705106

SUPERVISOR CO-SUPERVISOR

Dr. Masdiana Lubis, M.Hum. Dra. Roma Ayuni Aminoeddin Lubis, M.A NIP. 19570626 198303 2 001 NIP. 19680122 199803 2 001

Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan in partial fulfillment of the requirements for the degree of Sarjana Sastra from Department of English

DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2019

UNIVERSITAS SUMATERA UTARA Approved by the Department of English, Faculty of Cultural Studies University of Sumatera Utara (USU) Medan as thesis for The Sarjana Sastra Examination.

Head, Secretary,

Prof. T. Silvana Sinar, M.A., Ph.D. Rahmadsyah Rangkuti, M.A. Ph.D NIP. 19540916 198003 2 003 NIP. 19750209 200812 1 002

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UNIVERSITAS SUMATERA UTARA Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from the Department of English, Faculty of

Cultural Studies University of Sumatera Utara, Medan.

The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on April 5th, 2019

Dean of Faculty of Cultural Studies University of Sumatera Utara

Dr. Budi Agustono, M.S. NIP.19600805 198703 1 001

Board of Examiners

Rahmadsyah Rangkuti, M.A. Ph.D

Dr. Deliana, M.Hum.

Dr. MasdianaLubis, M.Hum.

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UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION

I, NONI NOVYANTI DECLARE THAT I AM THE SOLE AUTHOR OF THIS

THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS

THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED

ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A

THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER

DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT

DUE ACKNOWLEDGEMENTS IN THE MAIN TEXT OF THIS THESIS.

THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF

ANOTHER DEGREE IN ANY TERTIARY EDUCATION.

Signed :

Date : April 5th, 2019

UNIVERSITAS SUMATERA UTARA COPYRIGHT DECLARATION

NAME : NONI NOVYANTI

TITLE OF THESIS : ILLOCUTIONARY ACT IN SONG

LYRICS OF ED SHEERAN’S DIVIDE

ALBUM

QUALIFICATION : S-1/SARJANA SASTRA

DEPARTMENT : ENGLISH

I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR

REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF

DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES,

UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT

USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER THE LAW

OF THE REPUBLIC OF INDONESIA.

Signed :

Date : April 5th, 2019

UNIVERSITAS SUMATERA UTARA ACKNOWLEDGEMENTS

Bismillahirrahmanirrahim,

First of all, I would like to thank the Almighty God, Allah Subhanahu Wa

Ta‟ala for all of the love, blessing and mercy that has given to me that guided me in completing this thesis, without whom I would never complete this thesis. In addition, may peace and salutation be given to the Prophet Muhammad Sallallahu „Alayhi

Wassalam, thanks for all his guidance in my life.

I would like to express the deepest gratitude and appreciation to the Dean of

Faculty of Cultural Studies, University of Sumatera Utara Dr. Budi Agustono, M.S., the Head of Department of English Prof. T. Silvana Sinar, M.A. Ph.D., and the

Secretary of Department of English Rahmadsyah Rangkuti, M.A. Ph.D. for all of the facilities, opportunities, advices and suggestions I have obtained during my study in this faculty and be able to accomplish this thesis.

I would like to express a great appreciation and sincere thanks to my

Supervisor Dr. Masdiana Lubis, M.Hum, and my Co-Supervisor Dra. Roma

Ayuni Aminoeddin Lubis, M.A. who have guided me in completing this thesis by giving me their valuable comment, suggestions, advises and given me knowledge as the great contribution in completing this thesis. Sincere thanks are also devoted to all the lecturers of English Literature for the valuable knowledge that they have given to me during my study in English Departement, thanks to Bang Kirno as the admin of

English Department who helped me in the stages of completing this thesis.

I also devoted my special thanks to my beloved parents, Tiar Sono and Sry

Tiem who always give me supports, help, patience, love, pray and all of countless

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UNIVERSITAS SUMATERA UTARA material and immaterial supports that I need. Thank you for not pressing me to complete my thesis in time, thank you for understanding me. They are the biggest supporter in my life. And also, thanks to my family members, my older sister Tiara

Winda Asri who also gives me material and immaterial support, my younger sisters

Anisa Rahma Wati and Adinda Zulaiha who keep me entertain, and my older brother

Angga Prasetya who gives me good advices.

Big thanks to my great friends THE BANGKE, Anisa Pujianti, Dheanita

Gusridya, Dessy Arisanti Tarigan, Sabrina Ginting, Tetty Marlina Manurung, and

Titian Sinambela for the supports all of this time. I sincerely thank them for hearing my stories, letting me sharing my problems, giving me countless love, advices, suggestions and strength. Thank you so much for the precious time that we share together, crying and laughter that will never faded from my memory. Thank you so much for always be there for me through my ups and downs, with you guys my life becomes colorful, and I do not forget to convey my thanks to my classmates for the moment that has been created for 3.5 years of college.

Finally, I realize that this thesis is still far from being perfect. For every suggestions and advices from the reader will be pleasantly accepted. Hopefully, this thesis will be useful for the reader and future researchers. Thank you so much.

Medan, April 2019

The writer

Noni Novyanti

Nim: 140705106

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UNIVERSITAS SUMATERA UTARA ABSTRACT

This thesis entitled “Illocutionary Act In Song Lyrics Of Ed Sheeran’s Divide Album” aims to analyze Illocutionary Act and function of Illocutionary Act in song lyrics of Ed Sheeran‟s „Divide‟ Album. This research is conducted by using a descriptive qualitative method. The data are collected from „Divide‟ Album which are in the form of clauses, and sentences which comes from one lyric or combine lyrics. After being collected, the data is analyzed based on the theory of Illocutionary Act by Searle (1996) and Functions of Illocutionary Act by Leech (1983). This study shows that there are four categories of Illocutionary Act found in the song lyrics. They are Representative, Directive, Commissive, and Expressive. Representative act was found as the most dominant categories of Illocutionary Act with 135 data (68.2%), followed by Directive with 33 data (16.7%), Expressive with 16 data (8.1%), and Commisive with 14 data (7%). Ed Sheeran employs Representative act to deliver his ideas. Moreover, there are four types of Functions of Illocutionary Act found in the song lyrics. They are Collaborative, Competitive, Convivial, and Conflictive. Collaborative function is found as the most dominant function with 135 data (68.2%), followed by Competitive function with 33 data (16.7%), Convivial function with 28 data (14.1%), and Conflictive function with 2 data (1%). Collaborative function becomes the most dominant function because it is intended to tell the truth committed by Ed Sheeran.

Keywords: speech acts, illocutionary acts, song lyrics.

UNIVERSITAS SUMATERA UTARA ABSTRAK

Skripsi yang berjudul “Tindak Ilokusi Dalam Lirik Lagu Album Ed Sheeran Divide” bertujuan untuk menganalisis tindak Ilokusi dan fungsi tindak Ilokusi dalam lirik lagu album „Divide‟ Ed Sheeran. Penelitian ini dilakukan dengan menggunakan metode deskriptif kualitatif. Data dikumpulkan dari Album „Divide‟ yang berbentuk klausa, dan kalimat yang berasal dari satu lirik ataupun lirik gabungan. Setelah dikumpulkan, data tersebut dianalisis berdasarkan teori tindak Ilokusi oleh Searle (1996) dan fungsi tindak Ilokusi oleh Leech (1983). Di dalam penelitian ini ditemukan bahwa ada empat kategori tindak Ilokusi yang ditemukan dalam lirik lagu, yaitu: Representatif, Direktif, Komisif, dan Ekspresif. Tindak Representatif ditemukan sebagai kategori tindak Ilokusi yang paling dominan dengan jumlah 135 data (68.2%), diikuti Direktif dengan 33 data (16.7%), Ekspresif dengan 16 data (8.1%), and Komisif dengan 14 data (7%). Ed Sheeran menggunakan tindak Representatif untuk menyampaikan gagasannya. Selain itu, ada empat jenis fungsi ilokusi yang ditemukan di dalam lirik lagu, yaitu: Kolaboratif, Kompetitif, Konvivial, and Konfliktif. Fungsi Kolaboratif ditemukan sebagai fungsi yang paling dominan dengan jumlah 135 data (68.2%), diikuti oleh fungsi Kompetitif dengan 33 data (16.7%), fungsi Konvivial dengan 28 data (14.1%), dan fungsi Konfliktif dengan 2 data (1%). Fungsi kolaboratif menjadi fungsi yang paling dominan karena fungsi tersebut dimaksudkan untuk mengatakan kebenaran yang diyakini oleh dirinya.

Kata Kunci: tindak tutur, tindak ilokusi, lirik lagu

UNIVERSITAS SUMATERA UTARA TABLE OF CONTENTS

AUTHOR’S DECLARATION……………………………………………………..v

ACKNOWLEDGEMENTS………………………………………...……………..vii

ABSTRACT…………………………………………………………………………ix

ABSTRACT………………………………………………………………………….x

TABLE OF CONTENTS………..…………………………………………………xi

LIST OF FIGURE………………………………………...……………………....xiv

LIST OF TABLE…………………………………………………………………..xv

CHAPTER I INTRODUCTION

1.1 Background of the Study…………………………………1

1.2 Problem of the Study……………………………………..5

1.3 Objective of the Study……………………………………6

1.4 Scope of the Study………………………………….…….6

1.5 Significance of the Study…………………………………6

CHAPTER II THEORETICAL REVIEW

2.1 Pragmatics…………………….………………...………...8

2.2 Speech Acts Theory………………………………………9

2.2.1 Types of Speech Acts………………………………….14

2.2.1.1 Locutionary……………………………………….....15

2.2.1.2 Illocutionary…………………………………………16

2.2.1.3 Perlocutionary…………………………………….....16

UNIVERSITAS SUMATERA UTARA 2.3 Illocutionary Act…………………………………...……18

2.3.1 Category of Illocutionary Act…………………………19

2.3.1.1 Representatives……………….……………………..20

2.3.1.2 Directives……………………………………………21

2.3.1.3 Commisives………………………………………….21

2.3.1.4 Expressive………………………………………...…22

2.3.1.5 Declarations…………………………………………23

2.4 The Functions of Illocutionary Act…….………………..23

2.4.1 Types of Function of Illocutionary Act……………….24

2.4.1.1 Competitive………………………………….………24

2.4.1.2 Convivial…………………………………………….25

2.4.1.3 Collaborative…………………………...……………25

2.4.1.4 Conflictive……………………………………….…..25

2.5 Previous Related Studies………………………………...26

2.6 Biography of Ed Sheeran……………………………..…30

CHAPTER III RESEARCH METHOD

3.1 Research Design…………………………………………32

3.2 Data and Source of Data……………………………...…33

3.3 Data Collection Method….……………………………...34

3.4 Data Analysis Method…………………………………...34

CHAPTER IV ANALYSIS AND FINDING

4.1 Data Analysis……………………………………………38

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UNIVERSITAS SUMATERA UTARA 4.1.1 Illocutionary Acts and Function of Illocutionary Acts..38

4.2 Data Finding……………………………………………..77

4.2.1 Illocutionary Act………………………………………77

4.2.2 Function of Illocutionary Act…………………….……79

CHAPTER V CONCLUSIONS AND SUGGESTIONS

5.1 Conclusions………………………………….……...…...82

5.2 Suggestions……………………………………………...83

REFERENCES……………………………………………………………...……...84

APPENDIX

xiii

UNIVERSITAS SUMATERA UTARA LIST OF FIGURE

Figure 2.1 Theoretical Framework…..………………………………………….31

Figure 3.1 Components of Data Analysis: Interactive Model…………………..35

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UNIVERSITAS SUMATERA UTARA LIST OF TABLE

Table 3.1 The Corpus of Divide Album……….………………………………33

Table 3.2 Category of Illocutionary Act……………………………………….37

Table 3.3 Function of Illocutionary Act………………………………………..37

Table 4.1 Data Finding of Illocutionary Acts………………………………….78

Table 4.2 Data Finding of Function of Illocutionary Acts…………………….79

UNIVERSITAS SUMATERA UTARA CHAPTER I

INTRODUCTION

1.1 Background of the Study

Communication is the way of living creature to connect with one another in order to share or exchange information. Communication can be realized in various forms, using language is one of them. When people using language to communicate, there are certain intentions and messages that are expected to be transferred and understood by the recipient. People perform speech acts when they use language.

Thus typically when a person employs a language, a central question is what speech act(s) did he or she intend to perform. Therefore, speech act theory will be discussed furthermore.

Speech act theory attempts to explain how speakers use language to accomplish intended actions and how hearers infer intended meaning from what is said. When the speakers utter something, then the hearers afford to catch the meanings produced by the speakers. It can even cause misunderstanding when the hearers fail to process the intended meanings from the speakers. Furthermore, the speakers have something in their mind in which they expect the hearers to do so, but in some cases the speakers‟ expectation is not the same as what the hearers understand. Speech acts try to discuss how any lyrics are produced by speakers so that they have intended meanings which should be comprehended by hearers not only explicitly but also implicitly. Furthermore, those intended meanings affect the hearers to react, act, and do something. The domain of speech acts is then focused on the intended meanings or illocutionary acts.

UNIVERSITAS SUMATERA UTARA The concept of an illocutionary act is central to the concept of a speech act.

Illocutionary act is performed in saying something, and includes acts such as betting, promising, denying, stating, apologizing, threatening, predicting, ordering and requesting. Some of the verbs used to label illocutionary acts can be used performatively. Moreover, illocutionary act can be defined as what the speaker intends to do by uttering a sentence, Sari (1988:15). Coulthard (1977:18) states that

“basically an illocutionary act is a linguistic act performed in uttering a certain words in a given context.”

Sometimes what is said is what is meant, but it is very often that what is said is not what is meant. In particular contexts, lyrics are contrasted to meanings that want to be conveyed by speakers. When what is said is what is meant, hearers need not do interpretation complicatedly and it is easy to understand. Meanwhile, when what is said is not what is meant, hearers endeavor hard to catch the meanings of the lyrics. Illocutionary acts have a force as an aspect of speaker meaning. It means that speakers, in producing lyrics, have power to control someone else to do something in accordance with what they desire.

Searle (1969:34) states that illocutionary act is an act performed in saying something. Therefore, Illocutionary acts are often found in spoken language or our daily conversation. But Illocutionary acts are also act performed to utter the intention behind the speaker‟s words that indicates the speaker‟s purpose in saying something whether to state, recommends, offers, promises, etc. It means that illocutionary act can also be found on written language as written language also contains writer‟s intention or purpose to say to the reader. As a part of written language, literary works

UNIVERSITAS SUMATERA UTARA such as play, novel, film, short story, and song can also be analyzed by using illocutionary act theory.

Jean Marie Bretagne in Smith dan Fauchon (2001:287) said that song is literature that is very special; because of the tempo of the song show every depth of meaning. The lyrics to the song are sweet, so that it can make people feel flying, slipping, light and naive. Songs are literary works created based on one's imagination and imagination to express the contents of the heart.

Song is a variety of rhythmic sounds. Song is the result of the literary work associated with the art of sound and the art of language. As literary work, a song involves the melody and the sound color of the singer. Song is a literary work that has a wider rating because songs can be enjoyed by anyone without the burden of differences in language, nation, race, and religion. No wonder people like to listen to songs, because songs can give their listeners a pleasure. Listeners not only can enjoy the strains of beautiful melody, but also decorated with beautiful poetry which the writers pour to create aesthetic effects as imagery fantasies. In other words, the listener is also led to fantasize, through the language contained in the song. The elemental influence of language and music in the song can guide someone's emotion, consciously or unconsciously, into the human mind, so that from the human mind that will be realized through words and actions. Through songs, humans express feelings, hopes, aspirations, and ideas, which represent the views of life and the spirit of the era. Those are expressed through the song lyrics where the writer expressed something that he has been seen, heard or experienced.

Songs as communication media are often used as a medium for delivering messages. The form of messages in song lyrics is in the form of words and sentences

UNIVERSITAS SUMATERA UTARA that are used to create a certain atmosphere for the audience. Therefore, in understanding a song's lyrics, a listener has different perceptions, adjusted from which context to understand it. In the case of written language such as song lyrics the speaker is the writer and the speech act partner. The example below is shown the illocutionary act found in song lyrics. It is taken from the song lyrics of “perfect” by

Ed Sheeran in Divide Album:

I found a love for me And follow my lead I will not give you up this time

From the lyrics above can be seen there are illocutionary acts such as representative: “I found a love” which is stating something that he already found a love, directive: “follow my lead” which is commanding the addressee to follow his lead in their relationship, and commissive: “I will not give you up this time” which is promising to the addressee that he will fight for her love this time as not to repeat the same mistake in the past. The example above explains how this study will be done using illocutionary act theory.

Thus, illocutionary act can be applied in the song lyrics in order to get the intended message of the song and also what kind of message which is delivered in the song lyrics because everyone may have different interpretation about the meaning of sentence in the song lyrics. It depends on the speaker‟s meaning and also the context. In order to successfully deliver this intended message, the hearer should understand the context and the speaker‟s idea, and by analyzing illocutionary act found in the song lyrics of this album, we can get to that goal.

Ed Sheeran is an English singer, songwriter, guitarist, record producer, and actor. Sheeran was born in Halifax. In his carrier, Ed Sheeran experienced many

UNIVERSITAS SUMATERA UTARA twists of life, from sleeping on the roadside, becoming a busker, failing auditions, performing on small stages, to successfully becoming a musician who was very much considered in the music world. He claimed to have been a person who was so familiar with drinking and drugs and he claimed on the other hand that he struggled to get out of drug abuse. Ed Sheeran's life story should be an inspiration for everyone, where he can rise and never give up through dark times. Thanks to his dedication, Sheeran appointed Member of the Order of the British Empire (MBE) in the 2017 Birthday Honours for services to music and charity and was entitled by Forbes as the 9th most earning celebrity in the "Celebrity 100 List of The World's

Highest-Paid Entertainers”.

Divide album of Ed Sheeran is chosen because as its release, the album debuted at number one in the United Kingdom, selling 672,000 units in its first week, making it the fastest-selling album by a male artist there and the third-highest opening behind Adele's 25 and Oasis' Be Here Now. It also topped the charts in 14 countries.

This study is aimed to present that songs can be enjoyed more if we can understand the message which is delivered by understanding the lyrics and seeing it form linguistics point of view. Therefore, based on the explanation above, this research is meant to analyze the illocutionary act and its function in song lyrics of Ed

Sheeran‟s Divide album.

1.2 Problem of the Study

Based on the background given above, here are some problems of the study in this writing:

UNIVERSITAS SUMATERA UTARA 1. What categories of illocutionary act are found in the song lyrics?

2. What are the functions of the illocutionary act found in the song lyrics?

1.3 Objective of the Study

Based on the problem of the study above, here are the objectives of the study:

1. To describe the categories of illocutionary act in the song lyrics.

2. To find out the functions of the illocutionary act in the song lyrics.

1.4 Scope of the Study

The writer makes the scope of the study in order to make the process to do the research is easier. The writer limit the study based on the illocutionary act that discusses about its classification and its function which is found in the song lyrics of

Ed Sheeran‟s Divide Album. Illocutionary act theory by Searle and Functions of illocutionary act by Leech become the framework of this study.

1.5 Significance of the Study

Theoretically, this thesis is made to enrich the study of speech act and illocutionary act.

Practically, the results of this study is expected to be used as a reference for further research of speech act, illocutionary act, or any study related with a song lyrics as their object of study. The results of this study can help people understand the meaning of a song by understanding the lyrics, because if we only listen and read the lyrics without understanding it, we will only get the literal meaning of the song.

Through understanding by analyzing it, we get the real meaning, the intention of the

UNIVERSITAS SUMATERA UTARA writer that he wants to share with the listener through the speech act he uses.

Analyzing song lyrics using illocutionary act also make us understand what kind of speech act which is delivered by the song writers thus we know the function of each sentences. Analyzing a language of a song make us know not only the meaning of the song but also the person behind the song, because the language that the song writer uses show what kind of person he is, therefore in addition, this study may be useful to all fans of Ed Sheeran who wants to know what kind of person he is without the need to meet him directly, because 92% of the song lyrics is written by Ed

Sheeran himself.

UNIVERSITAS SUMATERA UTARA CHAPTER II

THEORETICAL REVIEW

2.1 Pragmatics

Pragmatics as a branch of linguistic is the study of meaning which relates to the context or the external meaning of language unit. Pragmatics is the study of contextual meaning (Yule, 1996: 3). Within the theory of meaning, pragmatic is especially concerned with the implicit meaning, with the unsaid. It might be considered as the investigation of invisible meaning (Yule, 1996: 3). Definitions below may help for more understanding about what the pragmatics is.

Pragmatics, which is concerned with the use of language in the situation, was still on the horizon: it had to wait until the 20th century, when Morris introduced the term pragmatics and defining it as the study of the relation between signs and their interpretants. However, pragmatics is associated with another language philosopher,

Austin. Austin put forward an original theory of speech acts in his monograph How to Do Things with Words (edited posthumously, in 1962). This work marked the beginning of linguistic pragmatics, a radical change in the traditional approach to linguistic studies. The study of language makes it possible to see better what belongs to language and what does not. What does not belong to language as a system, but is expressed by it in a situation, belongs to speech, or pragmatics. To paraphrase Yule‟s words, pragmatics is the wastebasket of linguistics.

Pragmatics focuses on the speaker, his or her intended meaning, and the addressee and his or her interpretation of the speaker‟s meaning. Pragmatics is the study of language use in interpersonal communication. It is concerned with the

UNIVERSITAS SUMATERA UTARA choices made by speakers and the options and constraints which apply in social interaction. It examines the effects of language use on participants in acts of communication.

In short, pragmatics is a study of the meaning of lyrics in relation to their context which involves how speakers can produce the best utterance to deliver their intention and how listeners can interpret the true intention of the speaker‟s utterance.

2.2 Speech Acts Theory

A speech act is an utterance spoken in an actual communication situation.

The theory of speech acts is associated with John Austin, a British language philosopher, whose book How to Do Things with Words, published posthumously in

1962, marked the beginning of a new approach to the study of language. To Austin, speaking is acting via language. The action that sentences „perform‟ when they uttered is an illocutionary act, or a speech act, a term used later by John Searle in

1932. To return to the sentence “I name the ship the Titanic”, by saying this, the speaker names the ship the Titanic. When the speaker says “Go!”, he or she orders the addressee to go. By uttering the words “Hi, John”, the speaker performs the act of greeting, or greets.

Speech act theory is a comprehensive theory of linguistic communication. It is a theory of what a speaker and the listener have to know and to do if the former is to communicate with the latter through spoken discourse. The fundamentals of this theory, as Stelmann (1982:279) puts them, are as follows: Linguistic communication is more than merely saying something; it is saying something in a certain context,

UNIVERSITAS SUMATERA UTARA with certain intentions, and with the listener‟s recognition of what is said and of these intentions.

As Clark and Carlson (1982:35) point out: Speech acts cannot be fully understood without considering the hearers as well as the speakers. Speech acts are directed at real people, whose abilities to recognize put limits on what speakers can do with their lyrics.

The speech acts is considered success if the receiver understands the intention of the speaker. There are different ways to deliver the speech. Therefore, the sensitivity of the listener is the key to make the communication successes.

Speech act theorists try to explain what people do when a sentence is uttered.

For example, when a speaker says “Close the door,” this speaker performs the act of ordering and also expects the hearer to recognize the speaker‟s intention by going to close the door. Actions performed when the speakers utter the sentence are called speech acts. This idea shows that when people utter statements, they do not only utter the sounds or words with grammatical structure, but they also perform some actions in the process of speaking.

In the term of the structural of the sentences, Yule (1996:54) proposes three types; which are declarative, interrogative, and imperative. The term declarative derives from the verb declare whose one of the meanings is to make a statement.

Thus declarative sentences are statement-expressing sentences, or speech acts. The term interrogative derives from the verb interrogate which means to ask questions, and interrogative sentences are question-expressing sentences or speech acts.

Imperative sentences are sentences expressing requests, orders, or command.

UNIVERSITAS SUMATERA UTARA 1. Declarative: he gives the cat food.

2. Interrogative: does he give the cat food?

3. Imperative: give the cat food!

In 1969 and 1979 Searle and many others have developed the basic elements of Austin's speech acts to become what is called Speech Act Theory. Searle has introduced the notion of an 'indirect speech act', which in his account is meant to be, more particularly, an indirect 'illocutionary' act. Applying a conception of such illocutionary acts according to which they are (roughly) acts of saying something with the intention of communicating with an audience, he describes indirect speech acts as follows:

In indirect speech acts the speaker communicates to the hearer more than he actually says by way of relying on their mutually shared background information, both linguistic and nonlinguistic, together with the general powers of rationality and inference on the part of the hearer, Searle (1975:60)

In connection with indirect speech acts, Searle introduces the notions of

'primary' and 'secondary' illocutionary acts. The primary illocutionary act is the indirect one, which is not literally performed. The secondary illocutionary act is the direct one, performed in the literal utterance of the sentence.

a. Direct Speech Acts

Direct speech acts are whenever there is a direct relationship between a structure and a function. For example, the lyrics “Can you ride a bicycle?” that also means asking someone ability. Moreover, the speech act is “direct”, when there is a relationship between the structure and the function. In direct speech acts, there is a direct relationship between their linguistics structure and the word they are doing. It

UNIVERSITAS SUMATERA UTARA occurs in some situation such as the speaker must be in a position to direct the hearer to perform the acts, must not be something which has already happened or would happen anyway, and other condition called as felicity condition.

More examples of direct speech acts:

 I hereby sentence you to five years in jail.

 I marry you, Mary, to this gentleman, Charles.

 I bet you fifty dollars their team will win.

In each instance the speaker performs a speech act in the very utterance of the word. The judge‟s words in the first example constitute the formal act of sentencing a criminal. Properly speaking, the criminal would not have been sentenced without the words of the judge. He would not have been obliged to go to jail had the words been spoken by a teacher, for example. The minister‟s pronouncement in the second example constitutes the act of marrying the couple. Without the pronouncement, the ceremony would have been incomplete. Similarly, the football fan makes the bet by saying „I bet you‟. Before uttering these sentences the football fans had not yet performed the acts of betting and promising. They have performed these acts by the end of their lyrics. These three examples illustrate performative and direct speech acts.

b. Indirect Speech Acts

Indirect speech acts happen whenever there is an indirect relationship between a structure and a function. Moreover, indirect speech acts are performed indirectly through the performance of another speech act, one common way of performing speech acts is to use an expression which indicates one speech act, and indeed performs this act, but also performs a further speech act, which is indirect.

UNIVERSITAS SUMATERA UTARA One may, for instance, say, "Peter, can you pass the salt?", thereby asking Peter whether he will be able to pass the salt, but also requesting that he does so. Since the request is performed indirectly, by means of (directly) performing a question, it counts as an indirect speech act. In fact, people do not normally use this structure as a question at all. Normally, it is used to make a request. A syntactic structure is associated with the function of a question. However, the sentence is associated with the function of a request. Whenever one of the structures in the set above is used to perform a function other than the one listed beside it on the same line, the result is an indirect speech acts.

The varieties of indirect requests provide a good illustration. They differ mainly in their politeness:

 Open the window.

 I would like you to open the window.

 Can you open the window?

 Would you mind opening the window?

 May I ask you whether or not you would mind opening the window?

These run the gamut of politeness from the first utterance to the fifth one. The first one is normally rude and authoritarian whereas the filth one is usually polite.

Lakoff (1973) has argued that this variation comes about from two rules of politeness: avoid imposition, and give options. The first utterance is the most imposing and therefore, the least polite. Because it does not give options, it assumes the speaker has considerable authority over the listener. The second utterance gives the listener the option of whether or not to please the speaker. However, that is not very much of an option and so it also imposes, though not as much as the first

UNIVERSITAS SUMATERA UTARA utterance. The third utterance is a question and gives an explicit option. The listener can answer „yes‟ or' no‟ to the question about the possibility of opening the window.

It assumes little authority, imposes very little, and is therefore more polite than the preceding lyrics. The fourth utterance goes one step beyond the third one and gives the listener the option of saying whether or not opening the window would be an imposition. The last utterance is ultra-polite. It requests permission even to ask the listener whether or not opening the window would be an imposition.

So, to choose among the five lyrics, speakers have to decide on several questions. What is their authority relative to the listener? Do they want to be rude or polite, and if so, to what degree? Should they give options? In an emergency, as during a fire or fight, they would not want to give options and would always shout

„open the window.‟

2.2.1 Types of Speech Acts

The original distinction between the different aspects of speech acting is due to Austin (1962). Austin (1976:13) defines speech acts as a statement not only describes a situation or states some facts, but also performs a certain kind of action by itself. Speech Act Theory demands that when an utterance performed, it can be analyzed on three different levels. They are locution, illocution, and perlocution

(Yule, 1996:48).

Austin differentiates the following speech acts: A locutionary act is the act of saying something meaningful; it consists of a phonetic act (uttering noises), a phatic act (uttering words in a grammatical construction), and a rhetic act (using meaningful words). Locutionary acts are also illocutionary acts that do something in saying

UNIVERSITAS SUMATERA UTARA something (like accusing, promising, etc.); they conform to convention and have an illocutionary force which causes certain effects. Perlocutionary acts also do something by saying something (like persuading, convincing, etc.), but they produce effects on feelings or actions of the addressee(s). These three speech acts are illustrated by the following examples:

1. Phonetic act: Paul is producing the noises that constitute "Please sit

down."

2. Phatic act: Paul is uttering the vocables or words of "Please sit down."

3. Rhetic act: Paul is using these vocables with a certain sense and reference.

4. Locutionary act: Paul is saying to Jean, "Please sit down."

5. Illocutionary act: Paul is asking Jean to sit down.

6. Perlocutionary act: Paul is getting Jean to sit down.

2.2.1.1 Locutionary

Locutionary acts are the real word that is uttered by the speaker and contains the speaker‟s verbalized message. It can be in the form of statements (declarative locution), questions (interrogative locution), and commands (imperative locution).

Locutionary acts produce a meaningful linguistic expression. It is to produce an utterance with a particular form and more or less determinated meaning. The interpretation of the locutionary acts is concerned with meaning, for example: “I am going to the market”.

UNIVERSITAS SUMATERA UTARA 2.2.1.2 Illocutionary

Illocutionary act is an act performed in saying something. When analyzing an utterance, it does not only deal with what do the sentence means, but also what kind of act does a speaker performs in uttering a sentence. Illocutionary acts are the power or intention behind the words that is uttered by the speaker. It indicates the speaker‟s purpose in saying something. The speaker‟s expression can be in the form of recommends, offers, promises, etc. The interpretation of the illocutionary acts are concerned with force. for example: “I will go to campus at 8.am”. In this utterance, the speaker has made an action of “promise” via language to go to the campus at 8 a.m.

2.2.1.3 Perlocutionary

Perlocutionary acts are the effect of the illocution on the hearer, such as the effect on the feelings, thoughts, or action of hearers. According to Austin (1976:108), it is what people bring about or achieve by saying something such as to get hearer to know, to get hearer to do something, to get hearer to expect something, to get hearer to show pleasant feeling and to get hearer to praise, for example: if someone shouts

“Fire!” and by that act causes people to exit a building which they believe to be on fire. There is another example: a teacher says to the students “please study hard or you‟ll fail on final examination”. The illocutionary act might be advising or suggesting but the perlocutionary act may be intimidating for students.

Austin in Horn and Ward (2006: 55) illustrates locution, illocution, and perlocution in an utterance “Shoot her!” as follows.

UNIVERSITAS SUMATERA UTARA Act (A) or Locution

He said “Shoot her!” meaning by shoot “shoot” and referring by her to “her.”

Act (B) or Illocution

He urged (or advised, ordered, etc.) to shoot her.

Act (C) or Perlocution

He persuaded to shoot her.

In Act (A), the concept is concerned with what is said by the speaker aspects.

The grammatical and phonological aspect is the main topic. The focus is that whether the utterance is meaningful or not so that the hearer is able to capture what the speaker says. Next, the Act B or illocutionary is concerning the speaker‟s purpose or intention when performing this utterance. Therefore, the illocutionary functions

(ordering, advising, or requesting) are the important point here. Finally, in Act (C), both locution and illocution of the utterance are interpreted by the hearer. The effect of the utterance that speaker performs to the hearer is the main focus. In the other word, locutionary acts are the simple act of saying words and the meaning of those words which are spoken by the speaker. While, illocutionary acts are what is done the speaker is saying something, and finally perlocutionary acts are the effect that arises when the speaker is saying something.

Those three kinds of speech acts above can also be used to distinguish an utterance which is a speech act and one which is only a statement by considering the context. Statements mean that by saying something the speaker does not have certain intended meaning in mind and his or her utterance does not cause an action for the hearer.

UNIVERSITAS SUMATERA UTARA 2.3 Illocutionary Act

According to Austin‟s theory of illocutionary act, illocutionary act is an act of saying, which is committed with the intends of speaker by uttering a sentence such as asking, stating, questioning, promising, ordering, apologizing, threatening, and requesting. According to Austin's preliminary informal description, the idea of an

"illocutionary act" can be captured by emphasizing that "by saying something, we do something". Verschueren (1980) counted more than 150 such illocutionary verbs in

English. According to Searle (1975), these acts differ principally in what he called their illocutionary point, their primary publicly intended perlocutionary effect. In making a request, speakers are trying to get their addressees to do something: the illocutionary point is to get them to do that something. For other illocutionary acts, the point is different.

Illocutionary act is a technical term introduced by John L. Austin in investigations concerning what he calls 'performative' and 'constative lyrics'.

According to Austin's original exposition in How to Do Things With Words, an illocutionary act is an act (1) for the performance of which I must make it clear to some other person that the act is performed (Austin speaks of the 'securing of uptake'), and (2) the performance of which involves the production of what Austin calls 'conventional consequences' as, e.g., rights, commitments, or obligations. For example, in order to successfully perform a promise I must make clear to my audience that the promise occurs, and undertake an obligation to do the promised thing: hence promising is an illocutionary act in the present sense.

Paul is doing something in saying, "Please sit down" to Jean: he is asking her to sit down. He may also be doing something by asking her to sit down, namely

UNIVERSITAS SUMATERA UTARA getting her to sit down. According to Austin, to do something in saying something is an illocutionary act, and to do something by saying something is a perlocutionary act.

The difference lies in what Paul expects to accomplish. He will have succeeded in asking Jean to sit down (the illocutionary act) when she recognizes what he wants.

He will have succeeded in getting her to sit down (a perlocutionary act) when she actually sits down. She could recognize that he wants her to sit down (his illocutionary act would be successful) and yet refuse to sit down (his perlocutionary act would be unsuccessful). Notice that Paul can say, "I hereby ask you to sit down" as a way of asking Jean to sit down, an illocutionary act. He cannot say, "Hereby get you to sit down" as a way of getting her to sit down, a perlocutionary act. The contrast is characteristic of illocutionary and perlocutionary acts.

According to the conception Bach and Harnish adopt in 'Linguistic

Communication and Speech Acts' (1979: 89), an illocutionary act is an attempt to communicate, which they again analyze as the expressing of an attitude. According to Searle (1969:34), the illocutionary act is an act performed in saying something. On other words, illocutionary act can be defined as using a sentence to perform a function. When a speaker says something, he or she may perform some functions of act through the lyrics such as request, complain, etc.

2.3.1 Category of Illocutionary Act

Austin model was adapted by others, and one of them was Searle. Searle adapted Austin‟s five classes of illocutionary act; a brief explanation of each, and a few examples of each are as follows:

UNIVERSITAS SUMATERA UTARA 1. Verdictives: acts that consist of delivering a finding, e.g., acquit, hold (as a

matter of law), read something as, etc.

2. Exercitives: acts of giving a decision for or against a course of action, e.g.,

appoint, dismiss, order, sentence, etc.

3. Commissives: acts whose point is to commit the speaker to a course of action,

e.g., contract, give one’s word, declare one’s intention, etc.

4. Behabitives: expressions of attitudes toward the conduct, fortunes, or

attitudes of others, e.g., apologize, thank, congratulate, welcome, etc.

5. Expositives: acts of expounding of views, conducting of arguments, and

clarifying, e.g., deny, inform, concede, refer, etc.

Searle (1979), as an improvement of the classification of the speech acts proposed by Austin, divided illocutionary points into five main categories: representatives or assertives, directives, commisives, expressives, and declarations.

2.3.1.1 Representatives

The point of representatives is to get addressees to form or attend to the belief that the speaker is committed to a certain belief. When Paul tells Jean, ''I'm tired," he is trying to get her to accept the belief that he is tired. Representatives range from simple assertions through predicting, confessing, denying, retorting, conjectures, suppositions, and includes stating, claiming, informing, concluding, representing, deducing, describing, reporting, telling, and many others. Examples:

 He will win this game (predicting)

 He is the winner of the game (reporting)

UNIVERSITAS SUMATERA UTARA  I demand my independence (asserting)

2.3.1.2 Directives

The point of a directive is to get addressees to do things. When Paul asks Jean to sit down, he is trying to get her to do something, to sit down. Directives fall into two major classes: requests for nonlinguistic actions (as with most commands and suggestions), and requests for linguistic actions (as with most questions). In asking

Jean, "What time is it?" Paul is requesting a linguistic action: she is to tell him what time it is. Directives range in force from mild hints to commands, and they vary on other dimensions, too. In this type of speech acts, the speaker wants to ask someone else to do something. Acts of asking, advising, encouraging, warning, begging, suggesting, commanding, ordering, requesting, inviting, are all the examples of how the speaker expresses his or her wants. For examples:

 “I order you to make me a coffee.” (ordering)

 “Come here” (commanding)

 “I invite to come to my birthday party” (inviting)

 “Can I offer you a drink?” (requesting)

2.3.1.3 Commissives

The point of a commissive is to commit the speaker to some future action.

The commonest commissive is the promise. When Paul says to Jean, "I'll be there in a minute," he is committing himself to being there in a minute. A promise can be absolute or conditional, and when it is conditional, it is called an offer. When Paul says to Jean, "Can I get you a beer?" he is committing himself to getting jean a beer,

UNIVERSITAS SUMATERA UTARA but only if she wants one. The acts are offering, threatening, recommending, refusing, vowing, wishing, guaranteeing, and refusals. For examples:

 “I will come in time this evening” (promising)

 “I‟m sorry, I cannot receive your money” (refusing)

 “I‟ll give you water” (offering)

2.3.1.4 Expressives

The point of an expressive is to express certain psychological feelings toward the addressees. When Paul steps on Jean's foot by mistake, he says, ''Sorry." In doing so, he presupposes that he has caused Jean some harm and tries to get her to recognize his regret in having done so. It is a kind of speech acts that states what the speaker feels. The form of expressive can be statements of pleasure, pain, like, dislike, joy, sorrow, etc. In this case, the speaker makes the words fit with the situation which his or her feeling also includes in it. The type includes thanking, apologizing, praising, regretting, greeting, congratulating, well-wishing, and many other types. For examples:

 “I‟m sorry for not coming yesterday” (apologizing)

 “congratulation for your wedding” (congratulating)

 “thank you for helping me” (thanking)

 “I regret it, I won‟t do it again” (regretting)

 “you‟re doing great” (praising)

UNIVERSITAS SUMATERA UTARA 2.3.1.5 Declarations

The point of a declaration is to affect an institutional state of affairs.

Declarations take place within institutions such as the law, the church, and organized games, and speakers do certain things by virtue of their institutional roles as judges, priests, or referees. In a company, a boss can appoint, promote, or fire people, and an employee can quit, simply by saying the right words at the right time: "You're fired" or "I quit." Likewise, with the right words at the right times, a judge can indict, pardon, and sentence people; a referee can start a game, call fouls, and call time-outs; a police officer can arrest people; and a priest can baptize, marry, and bless people.

As Austin noted, all of these acts must be performed with the proper institutional authority or they are defective, null and void. For examples:

 Priest: “I now pronounce you husband and wife”.

 Referee: “You‟re out!”

 Jury Foreman: “We find the defendant guilty”.

2.4 The Functions of Illocutionary Act

In speech acts investigation, the illocutionary act is the main focus of the discussion because illocutionary act is the intended meaning of utterance. Therefore, the illocutionary act always has function of speech acts. Leech (1993:104) has proposed the illocutionary acts based on its functions. It is based on how illocutionary acts relate to the social goals or purposes of arranging and setting up in a polite ways.

When communicating, people pursue two kinds of goal. One is called the illocutionary goals, i.e., what people want to do through linguistic communication

UNIVERSITAS SUMATERA UTARA (e.g. to ask permission, give advice, etc.). The other involves social goals, i.e., people want to maintain good communicative relations with other people. Illocutionary and social goals may either support or compete with each other and here the goal of being

(to some degree) polite is particularly important. When the illocutionary goal supports the social goal, Leech speaks of positive politeness (for instance paying a compliment has the positive purpose of placing a high value on the other person‟s qualities, and so per se helps to maintain good communicative relations). When the illocutionary goal competes with a social goal, we get negative politeness (a request has a negative purpose which is offset by the social goal intended to avoid offence by mitigating the degree to which speaker‟s goals are imposed on hearer).

2.4.1 Types of Function of Illocutionary Act

Leech divided the functions of illocutionary acts into four types: competitive, convivial, collaborative, and conflictive.

2.4.1.1 Competitive

Competitive was the function that the illocutionary goal competed with the social goal. In this function politeness had negative nature and aims to reduce the unpleasant way between what the speakers want to the politeness should say. Here, etiquette distinguished with manners. Etiquette refers to the goal, while manners refer to linguistic behavior or other behaviors to achieve that purpose. Therefore, the principle of manners needed to soften the impolite nature is intrinsically contained in that goal. For instance: ordering, asking, demanding and begging. Example: “I ask your cookies”.

UNIVERSITAS SUMATERA UTARA 2.4.1.2 Convivial

Convivial was the function that was the illocutionary goal coincides with the social goal. Convivial function was more positive politeness and aims to find opportunities for social time. In this context, the politeness is utilized positively to make a pleasure relationship to the society and aim to seek opportunities hospitable.

So, in positive manners, means obeying the principle of manners, such that if there is an opportunity to say „happy birthday‟, we should do it. For instance: offering, inviting, greeting, thanking and congratulating. Example: “Do you want these cookies?”

2.4.1.3 Collaborative

Collaborative was the function that the illocutionary goal was indifferent to the social goal. Collaborative illocutionary function did not contain politeness, for which politeness was irrelevant. It is commit the speaker to the truth of expressed proposition. It aims at ignoring the social purposes as like asserting, reporting, announcing, and instructing. Example: “I like this book”.

2.4.1.4 Conflictive

Conflictive was the function that the illocutionary goal conflicts with the social goal. In this function did not contain elements of politeness at all, because the function was basically aimed at caused anger. Such as threatening, accusing, and reprimanding. Example: “If you say again, I will say to your father”.

UNIVERSITAS SUMATERA UTARA It can be concluded that representatives belong to collaborative category.

Directives belong to the competitive category because it also includes illocutionary categories that require negative manners. Commisives tend to be convivial than competitive because its implementation is more meets the person's interest rather than the speaker. Expressive illocutionary tend to be convivial, except for expressive illocutionary "blame” and the other illocutionary acts that aimed at cause anger that belong to be conflictive. Declarative does not include in any other because it is a very special category of speech acts; they are performed, normally speaking, by someone who is especially authorized to do so within some institutional framework, as institutional rather than personal act. For example, judges in sentencing offenders, ministers of religion in christening babies, dignitaries in naming ships, and so on.

2.5 Previous Related Studies

In this study, researcher used previous related study as a reference to solve it.

Previous related study makes it easier for researcher to determine systematic steps for the preparation of research in terms of theory and concept. The previous research is used as a reference to help and facilitate researcher in making this study. Here are the previous studies related to this writing:

A thesis entitled: A Speech Acts Analysis of Bon Appétite Food

Advertisements (2017). The researcher mainly describes speech acts used in Bon

Appetite food advertisements by identifying the types of speech acts, and figuring out the speech act patterns in the advertisements. The researcher analyzed it based on speech acts theory by Austin. The findings of this research reveal two important things. Firstly, from 30 data, it is found that statements serve as the highest type of

UNIVERSITAS SUMATERA UTARA locutionary acts which are aimed at providing information of the products, commisives serve as the highest type of illocutionary acts which are aimed at offering the benefits of the products, and to get the readers to expect something serve as the highest type of perlocutionary acts which are aimed at giving impact to the readers. Secondly, there is Statements-Commisives-Expect as the most frequent pattern used by the copywriters. The research has a contribution in the research that has similarities in terms of theory which is using the theory of illocutionary act by

Searle.

A journal entitled: The Performance Of Expressive Speech Acts As Found

On Wayne Rooney‟s Facebook (2016). This journal studies about types of expressive speech act were performed by Wayne Rooney on his Facebook, to describe how the expressive speech acts were performed by Wayne Rooney on his Facebook, and to describe how the effects of expressive speech acts performed by Wayne Rooney on the hearers. This study was using descriptive qualitative approach. In The findings found that there were four types of expressive speech act on Wayne Rooney‟s

Facebook. They were congratulating, complimenting, thanking, and boasting.

Expressive speech act of boasting was the most dominant one, namely 46%.

Furthermore, each type was performed by Wayne Rooney either with direct expressive speech acts, or with the addition of preparatory acts, supportive acts, as well as the combination of both of them to modify the head acts as the main messages. Expressive speech acts of congratulating tended to cause the hearers to respond the same as what the speaker intended, namely congratulating. Meanwhile, expressive speech acts of complimenting, thanking, and boasting were most likely to cause the hearers to produce a large number of compliments as the responses. The

UNIVERSITAS SUMATERA UTARA contribution of this study is that his understanding of the theory of speech acts that he uses in his study gives an understanding to the author to write this research.

A journal entitled: Imperative Speech Acts in Javanese Songs (2015). This journal analyzed moral messages or values contained in tembang-tembang Jawa and their relevance in today‟s life through the lyrics applied in tembang-tembang Jawa.

This study tries to see the role of language in Javanese songs seen from pragmatic parameter (imperative) because in poetry - tembang (song) is used to state expressiveness and effectiveness and therefore it is revealed in the poetry according to similarity in the emotion and perception of the writers towards their surroundings.

The similarity with this study is that the study analyzing song using speech acts while this study focuses on the imperative speech act and the contribution is that this study also analyzes a song lyrics using speech act theory even with different focus.

A journal entitled: The Analysis of Illocutionary Acts in The President Joko

Widodo‟s Speech (2015). In this research, researcher was discussed the used of

Illocutionary acts in utterance of President Joko Widodo‟s speech in the first when presidency inauguration (2014) and second in 9th KTT East Asia, in Nay Pyi Taw,

Myanmar (2014). In this research, researcher found out the types and functions of illocutionary acts used in President Joko Widodo‟s speech. The descriptive qualitative method was used to analyze the data in this study. The data are presented descriptively because it was described and explain illocutionary acts used by

President Joko Widodo such as described the types and the functions of the illocutionary acts found in his speech. Researcher used Searle‟s theory for the types of illocutionary acts and used Leech‟s theory for the functions of illocutionary acts.

Spradley‟s method was used to finding the data for this research. The finding showed

UNIVERSITAS SUMATERA UTARA that there are five types of illocutionary acts found in this study: assertive, directive, commissive, expressive, and declarative. The type of illocutionary acts found most in this speech was assertive. This study also found four functions of illocutionary acts such as competitive, convivial, collaborative, and conflictive. The function of illocutionary acts found most in this category was collaborative. From this journal, the writer learns how to analyze the data, because the problem of the research is same with the problem of this study.

A thesis entitled: The Analysis of Illocutionary Acts in American Sniper

Movie (2015). This thesis discussed illocutionary acts in American Sniper movie to find out the types of illocutionary act produced by main character (Chris Kyle). The researcher used theory of speech act especially illocutionary act. The problems discussed in this research were the types of illocutionary acts used by the main character (Chris Kyle) and the functions of each utterance uttered by the main character in American Sniper movie. This research used qualitative method because the researcher in this research described any information by gathering the lyrics that were uttered by the main character (Chris Kyle) in the movie. The result of the research discussion showed that there were four types of illocutionary acts used by the main character (Chris Kyle) in American Sniper movie. They were: assertive or representative, directive, commissive, and expressive. In this research, there were four functions used by the main character. Those were competitive, convivial, collaborative, and conflictive. The contribution of this research is also in analyzing the data as this research has the same problems in this writing especially the data of the research is in written.

UNIVERSITAS SUMATERA UTARA 2.6 Biography of Ed Sheeran

Ed Sheeran was born on February 17, 1991, in Halifax, West Yorkshire, in the United Kingdom. When he was 11, Sheeran met singer-songwriter Damien Rice backstage at one of Rice‟s shows, and the young musician found added inspiration.

As the story goes, Rice told Sheeran to write his own music, and Sheeran set out the next day to do just that.

It was not long before Sheeran was recording CDs and selling them, and he soon put together his first official EP, The Orange Room. With that accomplishment and his abiding ambition driving him, at only 14 years of age, Sheeran headed to

London for the summer.

Once in London, Sheeran got busy recording and playing the local singer/songwriter circuit and quickly released two albums: a self-titled record in

2006 and Want Some? in 2007. He also began opening for more established acts, such as Nizlopi, the Noisettes and Jay Sean, and released another EP, You Need Me, in 2009, a year that found Sheeran playing more than 300 live shows.

It was not until 2010 that Sheeran made the leap to the next level in his career, and it came via online media, a route Sheeran had learned to use with great effectiveness. When a video he posted online got the attention of Example, a rapper,

Sheeran was asked to go on the road with him as his opening act. This led to an even larger online fan base and inspiration for many more songs, which ended up filling three new EPs, all in 2010. Since signing with Atlantic, Sheeran has sold millions of records, had a song appear in the second installment of The Hobbit trilogy and won

Grammys for hits like "Thinking Out Loud" (2014) and "Shape of You" (2017).

UNIVERSITAS SUMATERA UTARA SPEECH ACTS

Illocutionary Acts Functions of Illocutionary Acts (Searle, 1969): (Leech, 1983): 1. Representative 2. Directive 1. Competitive 3. Commisive 2. Convivial 4. Expressive 3. Collaborative 5. declarations 4. Conflictive

Illocutionary Act In Song Lyrics of Ed Sheeran‟s Divide

Album

Figure 2.1 Theoretical Framework

UNIVERSITAS SUMATERA UTARA CHAPTER III

RESEARCH METHOD

3.1 Research Design

In conducting research, we need research design. Research design refers to the strategy to integrate the different components of research projects in cohesive and coherence way. Some experts have different opinion about what is mean by research design. According to Creswell (2009:3) research design is plans and the procedures for research to detailed methods of data collection and analysis.

In this research, the writer used design of qualitative descriptive method which is a method of research that attempt to describe and interpret the objects in accordance with reality. The descriptive method is implemented because the data analysis is presented descriptively. The writer used song lyrics from Ed Sheeran‟s

Divide Album that are being analyzed.

Moreover, Sheman and Webb (1988) assume that qualitative research is concerned with meaning as they appear to, or are achieved by persons in lived social situations. Meanwhile, Bogdan and Biklen (1982) state that qualitative research is descriptive which the data is collected in the form of words or pictures rather than numbers. Data in the form of quotes from documents, field notes, and interviews or excerpts from videotapes, audiotapes, or electronic communications are used to present the findings of the study.

However, the writer also used quantitative approach in processing the data in which it also stated findings in the form of numbers. Vanderstoep and Johnson

(2009:7) state that qualitative research produces narrative or textual description of

UNIVERSITAS SUMATERA UTARA the phenomena under study, whereas quantitative research specifies numerical assignment to the phenomena under study. This research definitely described the phenomena of illocutionary act in song lyrics of Ed Sheeran‟s Divide Album in phrases and sentences. The numbers was used only to strengthen the interpretation, so the main analysis was still conducted qualitatively.

3.2 Data and Source of Data

The sources of the data in this research are the song lyrics of Ed Sheeran‟s

Divide Album. This album contains 12 songs. Those songs are (1) Eraser, (2) Castle

On The Hill, (3) Dive, (4) Shape of You, (5) Perfect, (6) Galway Girl, (7) Happier,

(8) New Man, (9) Hearts Do not Break Around Here, (10) What Do I Know?, (11)

How Would You Feel, and (12) Supermarket Flowers. The data were in the form of sentence and clause from single lyric or combine lyrics which contain of illocutionary act.

Table 3.1: The corpus of Divide Album

No. Title of the song Writer Date of released  1. Eraser 3 March 2017 Ed Sheeran, Johnny McDaid Ed Sheeran, Levin, Julia 2. Castle On The Hill 6 January 2017 Michaels Ed Sheeran, McDaid, Steve 3. Dive 3 March 2017 Mac, Kevin Briggs Kandi Burruss, Tameka 4. Shape of You 6 January 2017 Cottle 5. Perfect Ed Sheeran 26 September 2017 Ed Sheeran, Fy Vance, McDaid, Amy Wadge, Eamon Murray, Niamh 6. Galway Girl 17 March 2017 Dunne, Liam Bradley, Damian McKee, Sean Graham 33

UNIVERSITAS SUMATERA UTARA Ed Sheeran, Levin, Ryan 7. Happier 27 April 2018 Tedder Ed Sheeran, Jessie Ware, 8. New Man 3 March 2017 Ammar Malik Hearts Do not Break 9. Ed Sheeran, McDaid 3 March 2017 Around Here 10. What Do I Know? Ed Sheeran, Vance, McDaid 3 March 2017 11. How Would You Feel Ed Sheeran 2 March 2017 12. Supermarket Flowers Ed Sheeran, Levin, McDaid 17 February 2017

3.3 Data Collection Method

The technique of collecting data is used by researcher to collect the data that is needed and related to the discussion in the research. In this study, the writer used documentation method.

According Arikunto, documentation explaining the technique is to look for data about things or variables in the form of notes, transcripts, books, newspapers, magazines, inscription, and agenda for information embodied data relating to the discussion. Documentation is intended to obtain data directly from the research, including relevant books, studying, and relevant research data.

The data are collected from the song lyrics of Divide Album by Ed Sheeran with the following steps: Listening the songs, Reading and understanding the song lyrics, Selecting and underlying the lyrics belonging to illocutionary act found in the song lyrics, and Rewriting all the data containing illocutionary act which selected from data source in the note book.

3.4 Data Analysis Method

According to Miles, Huberman and Saldana (2014: 31) in analyzing the data, there are three concurrent flows of activity: (1) data condensation, (2) data display, and (3) conclusion drawing/verification. 34

UNIVERSITAS SUMATERA UTARA

Data Data Collection Display

Data Conclusions:

Condensation Drawing/Verifyin g

Figure 3.1 Components of Data Analysis: Interactive Model (Miles, Huberman &

Saldana 2014: 33)

1. Data Condensation

According to Miles, Huberman and Saldana (2014:31) states that data

condensation refers to the process of selecting, focusing, simplifying,

abstracting, and/or transforming the data that appear in the full corpus (body)

of written-up field notes, interview, transcriptions, documents, and other

empirical materials. In this study, the writer selecting the data from the lyrics

of the song and then focus in the data consist of illocutionary act, and then the

writer simplifying and abstracting the data that have been analyzed. The next

step will be put the data into data display.

2. Data Display

According to Miles, Huberman and Saldana (2014:31) states that

generally, a display is an organized, compressed assembly of information that

allows conclusion drawing and action. Looking at data displays helps us

understand what is happening and to do something-either analyze further or 35

UNIVERSITAS SUMATERA UTARA take action-based on that understanding. The displays discussed in this book

include many types of matrices, graphs, charts, and networks. The data

display which is used in this study is in the form of table.

3. Conclusions Drawing and Verification

According to Miles, Huberman and Saldana (2014:32) states

conclusion drawing is only half a Gemini configuration. Conclusions are also

verified as the analyst proceeds. Verification may be as brief as a fleeting

second thought crossing the analyst‟s mind during writing, with a short

excursion back to the field notes, or it may be through and elaborate, with

lengthy argumentation and review among colleagues to develop

“intersubjective consensus” or with extensive efforts to replicate a finding in

another data set.

1. Step Analysis

In this study, the steps of the analysis as follows:

 Reads and understands the song lyrics of Ed Sheeran‟s Divide Album.

 Reviewed the data which have been collected from the song lyrics of Ed

Sheeran‟s Divide Album.

 Identified the data based on the theories of illocutionary act according to

Searle and function of Illocutionary Act according to Leech.

 Classified the data into their respective categories based on the Illocutionary

Acts theory and Function of Illocutionary Acts theory.

 Described and analyzed the categories and the functions of illocutionary acts

found in the song lyrics.

UNIVERSITAS SUMATERA UTARA  Drawing conclusion based on the analyses which have been conducted.

2. Data Display

The data is displayed in the form of table.

Table 3.2: Category of Illocutionary Act

Title of the No. Categories Frequency Total Number of Data Song

Representatives

Directives

Commisives

Expressive

Declarations

Table 3.3: Function of Illocutionary Act

No. Title of the Song Types Frequency Total Number of Data

Competitive

Convivial

Collaborative

Conflictive

3. Conclusions Drawing and Verification

The last step is conclusion drawing and verification. In this last stream, the

conclusion is the answer of the problems and will show the summary of the study

based on the final result of the study. The writer will conclude and presents the

final result after finding the concrete information based on the analysis process.

UNIVERSITAS SUMATERA UTARA CHAPTER IV

ANALYSIS AND FINDING

4.1 Data Analysis

As mentioned in the objectives of the research, this research is aimed at identifying and analyzing Illocutionary acts and the functions of illocutionary acts that exist in the song lyrics of Ed Sheeran‟s Divide Album. This chapter provides the results of this research which are divided into two parts, i.e. Analysis and Finding. In the analysis, discussing and explaining each categories and functions of Illocutionary

Acts found in the song lyrics. Meanwhile, the data finding shows the appearance of the data which is divided into two parts: the categories of Illocutionary Acts and the

Function of Illocutionary Acts.

Data in this study are all utterance which is uttered in written form by Ed

Sheeran in his song lyrics from his album „Divide‟. Total numbers of the data is 198 data which come from: 99 data of single lyric and 99 data of combine lyrics.

4.1.1 Illocutionary Acts and Function of Illocutionary Acts

1. ERASE

This song is about his journey in chasing his dream. The lyrics mention how he is from singing in church as a child to winning international awards, from playing in front of some people to play in front of thousands of his fans in stadium. He also mentions that he was drinking and smoking too much, and he talks how fame can hurt relationship and change people. In this song he mentions that his father play big

UNIVERSITAS SUMATERA UTARA role in his carrier, he is encouraging him to chase his dreams. With this song, he utters that he wants to erase all the things that make him fall into bad things.

In this song lyric found three categories of illocutionary acts: representative

(13 data), directive (6 data), and expressive (2 data). The types of functions of illocutionary acts found in this song lyric are competitive (6 data), convivial (1 data), collaborative (13 data) and conflictive (1 data). In conclusion there are 21 data found in this song lyric: 7 data of single lyric and 14 data of combine lyrics.

1. Representative a. Telling

(2) Friends and family filled with envy when they should be filled with pride And when the world’s against me is when I really come alive And every day that satan tempts me, I try to take it in my stride

These lyrics are representative of telling. He tells that his friends and family envy him instead of proud of him. He tells that when he is facing with obstacles from the world, he feels really alive. And even satan tempts him every day, he tries to take it in his stride. The lyrics have collaborative function because the lyrics above about him telling his feeling that he himself experienced when he is being popular artist. It is commit the speaker to the truth of expressed proposition.

b. Predicting

(6) I guess it’s a stereotypical day for someone like me Without a nine-to-five job or an uni degree To be caught up in the trappings of the industry

UNIVERSITAS SUMATERA UTARA These lyrics are representative of predicting. He commits representative act of predicting by saying „I guess‟ which means he is predicting by his own knowledge that it is because of the stereotype thing for someone like him who does not have nine-to-five job or having a university degree that he is caught up in the trappings of the industry. Predicting as a part of representative acts belong to collaborative function. He predicts that it is just how world works towards someone like him. So, he is just telling of his own prediction of himself to other people.

c. Confessing

(11) I used to think that nothing could be better than touring the world with my

songs.

This lyric is representative of confessing. He confesses that he used to think that there is nothing better than touring the world with his songs because that was his dream which means that now he realizes that actually there is something better than touring the world with his song that there is something better than fame. The word

„used to‟ is stressing the utterance that he is confessing his own thought of what he feels about touring thus the utterance categorized as confession. This data belong to collaborative function because the lyric is presented the speaker belief which ignoring social purpose.

d. Informing

(19) Wembley stadium crowd’s two-hundred-and-forty-thou

This lyric is representative act of informing. He informs based on the fact that the wembley stadium is filled with two hundred and forty people when he sang there. 40

UNIVERSITAS SUMATERA UTARA That is 180 degree different from the past where he only sings in front of a few people that already mentioned in the previous lyrics. The representative act of reporting belongs to collaborative function as it states something with the aims at ignoring the social purpose.

2. Directive a. Ordering

(7) Show me the locked doors. I find another use of key and you’ll see

This lyric is directive of ordering. Sheeran orders someone to show him the locked doors by saying „show me the locked doors‟ then he will find the other key and will show them what he can do with that key to unlock the locked doors. It means that he will show his effort to achieve what he wants. The directive act of ordering belongs to competitive function. In the lyric we can see that it has the hearer to do something where it is requires negative manner to achieve the speaker want.

b. Suggesting

(10) Save your lovin’ arms for a rainy day And I’ll find comfort in my pain

This lyric is directive of suggesting. He suggests for no one in particular saving their arms for a rainy day so they are not getting „wet‟ by it. By this Sheeran refers to people habits that using their arms to prevent them from getting wet when there is nothing that they can use to avoid the rain except their own arms. The data has competitive function because he says a suggestion for people of what they should do. 41

UNIVERSITAS SUMATERA UTARA (20) The world maybe filled with hate but keep erasing it now

By saying „keep erasing it now‟, he suggests to the people that maybe getting hate to just keep go on, because world may be filled with hate, so do not mind it, just erase it, forget it and go on because there are always hate coming towards us but it‟s our lives, our rules, so just keep go on and forget. This lyric is not only for people but also for himself. Through this lyric, sheeran wants people to do something by saying

„but keep erasing it now‟, so this lyric belongs to competitive function.

c. Begging

(16) I beg you, do not be disappointed with the man I’ve become

This lyric is directive act of begging. He begs to his father when they were having conversations to not get disappoint with him, with what kind of man he becomes. In the lyrics he wants his father to not be disappointed with him which mean by saying „I beg you, do not be disappointed with the man I‟ve become‟ there is a goal that he want and hope to achieve, which is his father acceptation of himself.

So, with that explanation, these lyrics have competitive function.

3. Expressive a. Deploring

(12) I chased the picture of perfect life, I think they painted wrong.

In this lyric, Sheeran shows feeling of deploring. The act of deploring shows in „I think they painted wrong‟ which cause a feeling of disappointment. He feels disappointed with his life because it is not like what he wants. He chased a perfect life but unfortunately it goes the other way. As in the lyric has intended meaning of

UNIVERSITAS SUMATERA UTARA deploring, it has no social goal, the word „they‟ in the lyric may refer to the society that throwing hate towards him, his family that envy him. This lyric has conflictive function.

b. Greeting

(21) Welcome to the new show

This lyric is expressive of greeting. He greets people, welcoming them to new show that means a new him. This is supported with the lyric before this one; ‘And I'll find comfort in my pain, eraser’, he overcome the conflict that he is having by erasing it and find comfort in his pain. So, the lyric above refer to the new life he makes and welcoming people to see it. This lyric has convivial function as this lyric contain politeness that aimed to find opportunities in social time by welcoming people to see the new him.

2. CASTLE ON THE HILL

In this song, Ed Sheeran tells a story about his life in his hometown, Halifax.

Through this song, he tells about his experiences in the place where he grew, about his mischief where he smokes and getting drunk with his friends. He misses that time. He cannot forget the memories and he wants to come back to the place where he came from.

In the song lyric of this song the writer found only one category of illocutionary acts which is representative act with the total amount of data is 14 data which come from 7 single lyric and 7 combine lyrics. The function of illocutionary

UNIVERSITAS SUMATERA UTARA act is automatically only has collaborative function. It is because this song is a story about his life in his hometown and he is telling it to people by put it into a song.

1. Representative a. Telling

(1) When I was six years old I broke my leg

The lyrics above are representative of telling. He tells that when he was six years old he broke his leg. The lyric above has collaborative function because this illocutionary act that aimed by Sheeran at ignoring the social purposes by telling a fact about himself. The lyrics above is commit the speaker to the truth of expressed proposition and equivalent to stating that speakers uttering something to assign properties not only to themselves or to their hearers, but also to any other person.

b. Describing

(2) I was running from my brother and his friends And tasted the sweet perfume of the mountain grass I rolled down

The lyrics above are the continuation of the first lyric. He describes the reason why his leg broke is because of running from his brother and his friends until he rolled down the mountain and broke his leg. The lyrics above have collaborative function because it is commit the speaker to the truth of expressed proposition and equivalent to stating that speakers uttering something to assign properties not only to themselves or to their hearers, but also to any other person.

UNIVERSITAS SUMATERA UTARA c. Reporting

(13) One friend left to sell clothes One works down by the coast One had two kids but lives alone One brother overdosed One’s already on his second wife One’s just barely getting by

These lyrics are also representative of reporting. He is reporting about his old friends‟ condition in the present time that there is who becomes seller, working down by the coast, having family, gets overdosed, married twice, and another one just barely meet. The reporting action is ignoring social goal that has no politeness because politeness in reporting act is irrelevant, the speaker in reporting action just want to report that commit the speaker to the truth of expressed proposition. These lyrics have collaborative function.

3. DIVE

Dive is song about how he is falling in love with a girl but given his history with relationships, so, he is feeling emotionally vulnerable and worried of getting hurt. Therefore, He wants to ensure she genuinely feels the same way about him.

In this song lyric found three categories of illocutionary acts: representative

(7 data), directive (5 data), and expressive (1 data). The types of functions of illocutionary acts found in this song lyric; competitive (5 data), convivial (1 data), and collaborative (7 data). In conclusion there are 13 data found in this song lyric which come from 7 data of single lyric and 6 data of combined lyric.

UNIVERSITAS SUMATERA UTARA 1. Representative a. Telling

(3) I could fall, or I could fly Here in your aeroplane And I could live, I could die Hanging on the words you say

These lyrics are representative of telling. He tells the girl (as mention above from the background of the song that this song is about his feeling towards a girl he loves) that he is falling in love with her, but he is feeling vulnerable whether she loves him or not. There is implicit meaning from those lines that he does not want the girl to play with his feeling because he cannot take it by saying „I could die‟. He can fall or fly in her aeroplane, and he can live or die hanging on what she says which mean whether she accept him or not. There is no social purpose in these lyrics;

Sheeran aims to tell the girl about his feeling in order the girl will know it that make these lyrics belong to collaborative function.

b. Predicting

(1) Maybe I came on too strong Maybe I waited too long Maybe I played my cards wrong

These lyrics are representative of predicting. The word „maybe‟ indicates guesses predicted by sheeran of what happen at the moment with his love life that makes him feeling vulnerable and causes him guessing various possibilities (as what is said in the background of this song that this is a song of feeling towards a girl that makes him feel vulnerable or afraid of being played). So, Sheeran predicts some possibilities of what is wrong with all the possibilities that may be true. These lyrics have collaborative function. 46

UNIVERSITAS SUMATERA UTARA 2. Directive a. Warning

(5) So do not call me baby Unless you mean it

These lyrics are directive of warning. He gives warning to the girl to do not play with his feeling. He do not want her to call him baby if she does not mean it, because he thinks that if she calls him, baby, she gives him a chance. He feels vulnerable, so he wants the girl to call him that if he really means it and really want him to be his lover. These lyrics mean that Sheeran need status. These lyrics have competitive function because Sheeran has the addressee to do something he asks which is not calling him baby if she does not mean it.

(15) Do not tell me you need me If you do not believe it

These lyrics are also directive of warning. Same with the previous lyrics, but in these lyrics Sheeran warns the girl to not play with words, if she tells him she needs him, he wants her to believe that she does need him, so he does not want the girl to tell him she needs him if she does not really mean it and believe it. Because he does not want to feel that he is needed but actually not. The illocutionary function of these lyrics is competitive function because it has the addressee to do something. It competes with the social goal and had negative nature to get what the speaker wants.

b. Requesting

(7) So let me know the truth Before I dive right into you

These lyrics are directive of requesting. He is making a request for the girl to tell him the truth about her feeling and no lie, so he knows what step he has to take in 47

UNIVERSITAS SUMATERA UTARA the future with her before he dives right into her. Before things between them become serious, he wants the truth and begs her to give it. He needs something from the girl which is her real feeling towards him, and needs her to tell him about it. It makes these lyrics belong to competitive function that has people to do something.

c. Asking

(11) Do you have a tendency to lead some people on? ‘cause I heard you do, mm

These lyrics are directive of asking. He asks the girl if she has tendency to lead people, because he heard she does, so he just wants to make sure by asking it because he only hear it, he does not know if it is true or not. By asking ‘do you have a tendency to lead some people on?’ Sheeran is requesting the answer of yes or no from the girl he refers. These lyrics have competitive function because Sheeran wants an answer from the girl to erase his curiousness. It has the addressee to do something which belongs to competitive function.

a. Apologizing

(2) Baby I apologize for it

These lyrics are expressive of apologizing. He apologizes to the girl for the mistake he does. The mistakes he considered he has done are said in the previous lyrics. These lyrics have convivial function because act „apologizing‟ is an act that coincides with the social goal which is maintaining good relationship with other people. By apologizing, Sheeran wants to receive forgiveness that can keep his relationship with the girl.

UNIVERSITAS SUMATERA UTARA 4. SHAPE OF YOU

In this song, Sheeran sings about meeting someone in a bar and falling in love with her; a love distinct from those in much of his previous work as it‟s more focused on the physical than the emotional. This song tells about his desire and attraction for the girl he met. It tells that later on they go on a date; the woman‟s body and the man‟s impetuosity bring them together. Through this song, Sheeran hints at how sexual attraction can lead to a deeper relationship.

In this song lyric found three categories of illocutionary acts: representative

(11 data), directive (8 data), and commisive (1 data). The types of functions of illocutionary acts found in this song lyric are competitive (8 data), convivial (1 data), and collaborative (11 data). In conclusion there are 20 data found in this song lyric which come from 14 single lyric and 6 combine lyrics.

1. Representative a. Stating

(1) The club is not the best place to find a lover So the bar is where I go

These lyrics are representative of stating. He states that club is not the best place if you want to fine a lover, so, because he wants to find a lover and he believes that club is not the place for it, he goes to the bar where he believes it is the place to find a lover. The illocutionary function of these lyrics is collaborative because

Sheeran is stating a statement that he believes is a fact that maybe coming from his own experience. It is commit him to the truth of expressed proposition that aims at ignoring social purposes.

UNIVERSITAS SUMATERA UTARA b. Describing

(2) Me and my friends at the table doing shots Drinking fast and then we talk slow

These lyrics are also representative of telling. He tells that he goes to the bar he talks about with his friends. They were doing shots and betting each other to do shots, drinking fast and talking slowly there. These lyrics have collaborative function because these lyrics are representative of telling in order the people know what he is doing at that time while ignoring the social purposes.

c. Telling

(6) Girl you know I want your love

He tells the girl (it is said in the background of this song that he met a girl in the bar he visited that time) that he wants her love. These lyrics have collaborative function by telling the girl that he wants her love he is ignoring the social purposes and just want to tell what he feels.

d. Confession

(12) I’m in love with the shape of you

These lyrics are representative of confession. He confesses to her that he is in love with her but it is just physical attraction. Even though he confesses that his heart is falling too but he is attracted more to her because of her body. These lyrics belong to collaborative function because the goal of confession is to let the addressee know about the confession that the speaker commit, in this case, Sheeran wants the girl to know his feeling by making a confession that aims at ignoring social purposes.

UNIVERSITAS SUMATERA UTARA 2. Directive a. Command

(4) Come over and start up a conversation with just me

This lyric is directive of commanding. The commanding act is shown in the words „come over and start up’. This command is directed towards the girl he sees at that bar which is supported with the lyrics after that said „girl you know’. So, he commands her to come to him so they can start a conversation. Commanding is an act that has the addressee to do something that the speaker wish to be done by the addressee. This is match with the point of competitive function that competes with the social goal because Sheeran commands the girl to do something.

b. Ordering

(7) Take my hand, stop, put the man on the jukebox And then we start to dance,

These lyrics are directive of ordering. By saying „take my hand’ Sheeran orders the girl to take his hand so they can dance right after the man is put on the jukebox to play the music for them to enjoy while dancing together. These lyrics have competitive function because in the lyrics shown that Sheeran is making an act that has negative politeness which is ordering someone to do something.

3. Commisive a. Promising

(4) And trust me I’ll give it a chance now

This lyric is commisive of promising. Sheerans commits to future action which is will give it (their meeting) a chance. He promises that if they talk and 51

UNIVERSITAS SUMATERA UTARA having a conversation as mention in the previous baits, he will give them a chance to start something more than just talking between two strangers. This lyric has convivial function because its implementation is more meets the addressee's interest rather than the speaker. By promising her to give them a chance, Sheeran wants to have a good relationship with her (coincides with the social goal), thus categorized as convivial.

5. PERFECT

This song is about Sheeran‟s girlfriend, Cherry Seaborn a girl from his past because they came from the same place. It tells a story of love since they were kids, and then he realizes that she is the love of his life and he can see himself being with her forever. It can be a wedding song but generally its placing emphasis on the beauty and perfection of the woman and how she is too fine for him.

In this song lyric found four categories of illocutionary acts: representative

(10 data), directive (4 data), commisive (3 data) and expressive (3 data). The types of functions of illocutionary acts found in this song lyric are competitive (4 data), convivial (6 data), and collaborative (10 data). In conclusion there are 20 data found in this song lyric which come from 13 single lyrics and 7 combine lyrics.

1. Representative a. Stating

(1) I found a love for me

These lyrics are representative of stating. He states that he found his love

These lyrics have collaborative function because he is stating a statement that

UNIVERSITAS SUMATERA UTARA people should know. It is ignoring the social goal and has no politeness because in stating something, politeness becomes irrelevant.

b. Describing

(8) Baby, I’m dancing in the dark with you between my arms Barefoot on the grass, listening to our favorite song

These lyrics are representative of describing. He describes what they do, he and his lover, that they are dancing barefoot on the grass while listening to their favorite song and she is in his arms. Representative of describing belongs to collaborative function because describing is telling people about what he describes that social goal is not the point of describing something.

c. Telling

(5) I never knew you were the someone waiting for me

These lyrics are representative of telling. He tells the girl that he does not expect if she is the one who waits for him, still loving him even after years that make their love find its way to grow again (as also said in the background of this song).

These lyrics have collaborative function because the aim of telling is to let people know and it is also ignoring the social goal.

(19) We are still kids, but we’re so in love Fighting against all odds

He tells to the girl the memory when they were kids that they were so in love and fighting all the odds against them. These lyrics have collaborative function because the aim of telling is to let people know and it is also ignoring the social goal.

UNIVERSITAS SUMATERA UTARA 2. Directive a. Ordering

(2) Darling just dive right in And follow my lead

These lyrics are directive of ordering. He orders the girl to just dive into their relationships that they start over, and orders her to follow his lead in their relationship which means that he wants her to trust him. These lyrics have competitive function because ordering has addressee to do something that clearly compete with the social goal.

(7) But darling just kiss me slow, your heart is all I own And in your eyes you’re holding mine

He orders the girl to just kiss him slow because her heart is his, her love is his, same goes with her, she loves him too that there is him in her eyes „in your eyes you’re holding mine’. These lyrics have competitive function because in the lyrics we can see that he orders her to do something, by ordering something to the addressee, his action is competing with the social goal.

3. Commisive a. Promising

(6) I will not give you up this time

This lyric is a commisive act of promising. He promises to the girl, that he will fight for her, for their love because the thing that he will fight for is herself and her love. He promises that he will not give up this time which means that he ever gives up to fight for his love because they were still kids at that time, they are still blind with love (as mention in the previous lyrics). The illocutionary function of this

UNIVERSITAS SUMATERA UTARA lyric is convivial function because he commits to the future action that will maintain their relationship (match with the social goal).

b. Wishing

(11) She shares my dreams, I hope that someday I’ll share her home

This lyric is a commisive act of wishing. He commits to some future action.

He wishes that someday he and his girl will live under the same roof and that they will share what he calls home. He commits to some future actions which are wishing the good things of their relationship in the future that can maintain the good relationship between them. So, this lyric has convivial function.

4. Expressive a. Praising

(9) When you said you looked a mess, I whispered underneath my breath But you heard it, Darling, you look perfect tonight

These lyrics are expressive of praising. He praises his girl that she looks perfect when she believes that she looked a mess. Those lyrics have convivial function because praising is an act that if we praise someone, it will make the people we address feeling happy. It can create or maintain good relationship which means that the social goal is achieved.

(18) I do not deserve this You look perfect tonight

He praises the girl that she looks perfect until he doubts himself whether he deserve her or not. This lyric has convivial function because this lyric has positive

UNIVERSITAS SUMATERA UTARA politeness. It is paying a compliment that has the positive purpose of placing a high value on the other person‟s qualities.

6. GALWAY GIRL

This song talks about an English man falling in love with an Irish girl. They meet at an Irish pub when the girl is playing with Irish band. Galway is an Irish city,

Galway girl could be the girl is from there, even though „Galway girl‟ is also an Irish phrase for a lady with black hair and blue eyes. The entire lyrics mention about all of the things they do in the pub.

In this song lyric found four categories of illocutionary acts: representative

(14 data), commisive (2 data) and expressive (3 data). The types of functions of illocutionary acts found in this song lyric are convivial (5 data), and collaborative (14 data). In conclusion there are 19 data found in this song lyric which come from 10 single lyrics and 9 combine lyrics.

1. Representative a. Telling

(1) She played the fiddle in an Irish band But she fell in love with an English man

These lyrics are representative of telling. It has been said in the background of the song that this song is about an English man was falling in love with an Irish girl. So the first line of this song is about how they (Sheeran and the girl) met the first time at the Irish pub, the girl was playing with an Irish band, but she fell in love with an English man. „English man‟ refers to Sheeran himself because he is an

English man and this is a story of his own experience. The illocutionary function of 56

UNIVERSITAS SUMATERA UTARA these lyrics is collaborative function because telling something is aimed to let people know not to build a good relationship with society.

b. Describing

(3) I meet her on Grafton street right outside of the bar

He tells that after he went out from the bar, he met again with the girl right outside the bar which is located at Grafton Street. The illocutionary function is collaborative because he aims at ignoring social purposes. He is telling a story

(8) Chatted some more, one more drink at the bar Then put Van on the jukebox, got up to dance

These lyrics are representative of describing. In the lyrics above, he describes the Irish girl did when she was having fun in the pub by doing some things like chatting and drinking whiskeys at the bar, and dancing. This means that his eyes always follow the girl until he can tell the entire things the girl did at that pub. The illocutionary function is collaborative because what Sheeran intended from these lyrics is making people know about what she did in the pub by describing it.

(17) I was holding her hand, her hand was holding mine Our coats both smell of smoke, whiskey, and wine As we fill up our lungs with the cold air of the night

These lyrics are also representative of describing. Those lyrics are about them on their way back home from the pub. He is telling it by describing it. He describes that when they were walking home, they were holding hand with their coats smell of smoke, whiskey and wine as they smoke in the cold night. The illocutionary function is collaborative because it aims at ignoring social purposes. He describes a viewpoint to the people who listening to this song by giving a detailed description.

UNIVERSITAS SUMATERA UTARA 2. Commisive a. Promising

(19) I swear I’m gonna put you in a song that I write About a Galway girl and a perfect night

The lyrics above are commisive of promising. He promises to write a song about the Galway girl and the perfect night where they met. So, that is the reason of why this song is created, which means that Sheeran is not breaking his promise. The illocutionary function of these lyrics is convivial function because Sheeran is making a promise to her that will make her happy because he created a song about her, so the social goal is achieved.

b. Offering

(5) Do you want to drink on?

This lyrics is commisive of offering. Sheeran offers her a drink if she wants to drink. This lyric has convivial function because Sheeran offering someone about something, so the illocutionary goal of this utterance coincides with the social goal.

3. Expressive a. Praising

(9) You’re my pretty little Galway girl

This lyric is expressive of praising because the lyric show the expression of praising someone. In those lyrics, Sheeran praised the Irish girl and said that she is pretty. This lyric has convivial function because praising is aimed at maintaining good relationship with the people that have been praised. With that, the social goal is achieved.

UNIVERSITAS SUMATERA UTARA 7. HAPPIER

This song is about a story of a man who cannot be with the one he loves because he is already happy with someone else. The mistakes in the past make her turn away from him. He feels that it will be impossible to be back together.

Eventhough he has been sincerely let her go, but the feeling is still there and that the love still grows in silence.

In this song lyric found three categories of illocutionary acts: representative

(11 data), commisive (2 data) and expressive (3 data). The types of functions of illocutionary acts found in this song lyric are convivial (5 data), and collaborative (11 data). In conclusion there are 16 data found in this song lyric which come from 10 single lyrics and 6 combine lyrics.

1. Representative a. Telling

(1) Walking down 29th and park I saw you in another’s arms Only a month we’ve been apart

These lyrics are representative of telling. He tells that when he was walking down the street, he saw his ex with someone else. This is the start of his broken heart and then made this song because it was only one month after their break up, but she is already with someone new. These lyrics have collaborative function because he intends to tell how he had broken heart by seeing his ex who he still loved is already with new man.

(11) My friends told me one day I’ll feel it too And until then I’ll smile to hide the truth. But I know I was happier with you 59

UNIVERSITAS SUMATERA UTARA

He tells that his friends ever told him that one day he will feel it too, the feeling of love, a new love with a new girlfriend just like his ex who found her new love. But, his friends do not know that truth, he still loves his ex. So, before that time comes, he will pretend that he is okay ‘until then I’ll smile to hide the truth’. These lyrics have collaborative function because telling something is an act that ignored the social goal because the aim of telling is not to have good relationship with people.

b. Confessing

(13) I know that there’s others that deserve you But my darling, I am still in love with you

He confesses that he is still in love with her even though he knows that she has the right to be with someone else, even though he knows that there‟s someone else who deserve her more than him. But, still he just wants to tell her that he still loves her. The intended meaning of these lyrics is to let the addressee know about his feeling. It is aimed at ignoring the social goal which makes these lyrics belong to collaborative function.

c. Describing

(5) I saw that both your smiles were twice as wide as ours

These lyrics are representative of describing. With those baits, he describes that inside that bar, that man was making her laugh then they both were smiling widely, kind of smile that remind him with their moments like that before they broke up „as wide as ours’ that make him feel jealous because that man can make her 60

UNIVERSITAS SUMATERA UTARA happy just like what he did to her before. The illocutionary function of this utterance is collaborative because he is asserting something that ignores social purposes.

2. Commisive a. Promising

(8) Promise that I will not take it personal, baby If you’re moving on with someone new

These lyrics are commisive of promising. He promises that he will not take it personal if she has moved on from him and having another man because he knows she does look happier with another man. With that said, he promises that he will not disturb his ex relationship with the other man. So, those lyrics have convivial function because it is aimed to coincide with the social goal.

(20) I knew one day you’d fall for someone new But if breaks your heart like lovers do Just know that I’ll be waiting here for you

He knew after they broke up, she will fall in love with another man, but, he promises that if one day she is getting hurt by his boyfriend, she can go back to him because he stills love her and he is willing to wait for her. The promise he made is to maintain good relationship with his ex. He intends to find opportunities with her. So, these lyrics have convivial function.

8. NEW MAN

This song is about Sheeran‟s initial thoughts on his former girlfriend‟s new boyfriend and how she is changed because of him. He said that his ex has made poor choices as she still has feelings for him, because she does not seem satisfied with her boyfriend, and looks for love in other places, including with him. 61

UNIVERSITAS SUMATERA UTARA In this song lyric found four categories of illocutionary acts: representative

(15 data), directive (2 data), and commisive (3 data). The types of functions of illocutionary acts found in this song lyric are competitive (2 data), convivial (2 data), collaborative (15 data), and conflictive (1 data). In conclusion there are 20 data found in this song lyric which come from 9 single lyrics and 11 combine lyrics.

1. Representative a. Describing

(1) I heard he spent five hundred pounds on jeans Goes to the gym at least six times a week Wears both shoes with no socks on his feet And I hear he is on a new diet at watches what he eats He is got his eyebrows plucked and his asshole bleached Owns every single Ministry CD Tribal tattoos and he do not know what it means

(10) Our new man rents a house in the burb And wears a man bag on his shoulder, but I call it a purse Every year, he goes to Malaga with all the fellas Drinks beer, but has six pack, I’m kinda jealous He wears sunglasses indoors, in winter, at nighttime And every time a rap song comes on, he makes a gang sign Says, chune, boy never light up the room

The lyrics above are representative of describing. This song is about Sheeran ex girlfriend‟s new man, and here he describes all the things that he heard about that man. Sheeran tells about how that man lives, what he does, and what he has. He also said that he is jealous with that man because he drinks beer but still has six packs.

The illocutionary function is collaborative because it aims at ignoring social purposes because he just describing what he hears so that people can get a picture about who is his ex girlfriend‟s boyfriend.

UNIVERSITAS SUMATERA UTARA b. Confessing

(3) Still lookin' at your Instagram and I'll be creepin' a lil'

By saying „still lookin at your instagram‟, he indirectly confesses to his ex girlfriend that even though he and his ex girlfriend had broken up, he is still stalking her Instagram, he knows that it is a little bit creepy stalking an ex, but he cannot help it, so he is stalking her instagram. These lyrics have collaborative function because the description is aimed to let people know and to get the description about that girl.

It is ignoring the social goal.

c. Telling

(4) I’ll be tryin’ not to double tap, from way back ‘cause I know that is where the trouble’s at

These lyrics are representative of telling. As explained in the previous lyric, he is stalking her instagram while making sure that he does not accidentally click that love button because he knows that will cause trouble which means his ex will know that he is stalking her. These lyrics have collaborative function.

d. Stating

(6) I guess if you were Louis Lane, I was not superman Just a young boy tryin’ to be loved

He states that he was not a superman, he is just a young boy who trying to be loved. These lyrics have collaborative function because he is stating a statement that people should know. It is ignoring the social goal and has no politeness because in stating something, politeness becomes irrelevant.

UNIVERSITAS SUMATERA UTARA 2. Directive a. Advising

(19) Please remember you’re still free To make the choice and leave

He advises her to choose what‟s good for her because apparently she is different. She seems lonely when she is with him. So he advises her to make a choice as she want. These lyrics have competitive function because it is competing with the social goal by advising her, he wants her to do something that he advises her to do, different with the social goal which maintaining good relationship.

3. Commisive a. Refusing

(7) So let me give it to ya I do not wanna know about your man ‘cause if it was meant to be You wouldn’t be callin’ me up tryin’ to Cause I’m positive that he do not wanna know about me.

These lyrics are commisive of refusing. He refuses to know her new man. He believes that even though he is not introduced to her new man, he will know about him either way. He also believes that her new man does not want to know about him either. These lyrics have conflictive function because Sheeran refuses her offer to introduce him to her new boyfriend. It will cause conflicts between them that clearly not the point of social goal.

b. offering

(13) okay you need to be alone And if you want to talk about it, you can call my phone

UNIVERSITAS SUMATERA UTARA Those lyrics above refer to the previous lyrics that said he saw her kissing a boy that is not that man. So, he guesses that she has problems with her boyfriend so he offers to her that if she wants to talk about it, she can call him. The illocutionary function of these lyrics is convivial function because he is offering to someone that makes the illocutionary goal coincides with the social goal.

9. HEARTS DON’T BREAK AROUND HERE

This song is a love song about Sheeran‟s girlfriend, Cherry Seaborn. In this song he is mostly telling about what kind of girl and what kind of a girlfriend

Seaborn is. That she is the sweetest girl. He also tells about his feeling with her, how he feels safe around her and how they spend their days.

In this song lyric found four categories of illocutionary acts: representative

(15 data), directive (1 data), and expressive (1 data). The types of functions of illocutionary acts found in this song lyric are competitive (1 data), convivial (1 data), and collaborative (15 data). In conclusion there are 17 data found in this song lyric which come from 9 single lyrics and 8 combine lyrics.

1. Representative a. Stating

(1) She is the sweetest thing that I know

This lyric is representative of stating. He states that she is the sweetest girl he ever knows, as said in the background of this song, this song is about his girlfriend,

Cherry. The lyric is praising, but cannot categorize as expressive of praising because that sentence is a statement, his thought of her to let people know not what he said to

UNIVERSITAS SUMATERA UTARA her. Therefore, this lyric has collaborative function that aimed at ignoring the social purposes by making a statement.

(16) Well I found love in the inside The arms of woman I know

These lyrics are also representative of stating. He states that he found love in her, in the arms of the woman he knows. „of woman I know’ refers to Cherry who he have known since he were young back then in Halifax, his hometown. The illocutionary function of it is collaborative because he is stating his opinion based on personal opinion.

b. Telling

(14) Spent my summer time beside her And the rest of the year the same

He tells about how they spend their time together. In summer, they are spending summer together and the rest of the year without any different. These lyrics have collaborative function because he intends to tell his experience with his girlfriend. He wants people to know that he is happy with her, and that they will always be together.

c. Confessing

(9) I feel safe when you’re holding me near

These lyrics are also representative of confessing. By saying „I feel safe when you‟re holding me‟ Sheeran confesses that he feels safe around her when she is holding him near. The illocutionary function of this lyric is collaborative because saying personal thought and belief tend to ignore the social goal.

UNIVERSITAS SUMATERA UTARA (18) And I’m not scared of passing over Or the thought of growing old

He confesses that he is not scared of the thought of getting old or even the thought of pass away; it does not matter because from now on until then, he is with her. These lyrics have collaborative function because he shares his thought of getting old and died.

d. Convincing

(15) You know hearts do not break around here

This lyric is representative of convincing. He convinces her that as long as she is with him, he can convince that there will be no hearts break. This lyric has collaborative function because the speaker (Sheeran) intend to make the addressee believe of what he said.

e. Describing

(12) She is the river flow in Orwell And tin wind chimes used for doorbells (15) She is the flint that sparks the lighter And the fuel that will hold the flame (17) She is the lighthouse in the night that will safely guide me home

Those lyrics are representative of describing. He describes her like a river flow in Orwell, like tin wind chimes on doorbells, like a flint that sparks the lighter, like the fuel that holds the flame and like the lighthouse in the night that will guide him home safely. Those lyrics have collaborative function because all of those sentences is him describing her girlfriend that can make a picture for people of his girlfriend.

UNIVERSITAS SUMATERA UTARA 2. Directive a. Ordering

(2) You should see the way she holds me when the lights go low Shakes my soul like a pot hole, every time

This lyric is directive of ordering. He orders no one in particular to see the way she holds him in the dark that can shake his soul every time she did it. He wants to show the reason his soul is shaken by order people to see the way she hold him.

The illocutionary function of these lyrics is competitive for the message in it contains action the speaker asks people to do.

3. Commisive a. Promise

(6) Oh my baby, lately I know That every night I’ll kiss you you’ll say in my ear Oh we’re in love aren’t we?

These lyrics are commisive of promise. He promises that every night he will kiss her then she will say proudly „oh, we’re in love aren’t we?. The illocutionary function of these lyrics are convivial as the act done by Sheeran is aimed to please the hearer.

10. WHAT DO I KNOW

Through this song, Sheeran sends a social and political message. He speaks about the world focusing on numbers and losing their minds over money, all while ignoring the opinions of the simple men that live in it, like himself. He also talks about how something as simple as love would lead us in the right direction. And he believes that music has a powerful effect on the world to set it be better. 68

UNIVERSITAS SUMATERA UTARA In this song lyric found four categories of illocutionary acts: representative (7 data), directive (4 data), and expressive (2 data). The types of functions of illocutionary acts found in this song lyric are competitive (4 data), convivial (2 data), and collaborative (7 data). In conclusion there are 13 data found in this song lyric which come from 4 single lyrics and 9 combine lyrics.

1. Representative a. Telling

(1) Ain’t got a soapbox I can stand upon But god gave me a stage, a guitar and a song

These lyrics are representative of telling. He tells that God gives him a stage, a guitar and a song, with all of this; he can bring some positive things to do because he wants to make good songs that bring positivity, so he proud of it. These lyrics have collaborative function because telling something is aimed to let people know which is ignoring the social goal.

b. Informing

(8) The revolution’s coming, it’s a minute away I saw people marching in the streets today

These lyrics are representative of informing. He is informing that revolution is coming near that he saw people marching in the streets. The illocutionary function of these lyrics is collaborative because he is giving information for people who do not know. c. Describing

(5) I’m just a boy with a one man show No university, no degree, but lord knows 69

UNIVERSITAS SUMATERA UTARA

These lyrics are representative of describing. He describes himself as a boy who did not go to university, so he had no degree follows his name. „but lord knows’ refers to the lyrics after that said people is being greedy over money. The representative act of describing belongs to collaborative function, because in representative act, the social goal is not what the speaker wants to achieve.

d. convincing

(8) We could change this whole world with piano Add a bass, some guitar, grab a beat and away we go

This lyric is representative of convincing. He convinces people that we could change the world with music, because words sometimes are ignored but good music will be listened and that will bring positivity. These lyrics have collaborative function.

2. Directive a. Suggesting

(11) I know, I’m all for people following their dreams Just re-remember life is more than fittin’ in your jeans

Those lyrics are directive of suggesting. In this songs, he tells that life is hard, so even though we just want to reach our ambition or dreams in this world with our own ways. He suggests people to remember that this world is not that easy „more than fittin’ in your jeans’, and that is what he wants to say to everyone who is following their dream, he just wants to remind them. These lyrics have competitive

UNIVERSITAS SUMATERA UTARA function because he intends to make people to do something which compete with the social goal.

b. Encouraging

(13) Spread love and understanding, positivity

He encourages people to spread love and positivity together, because as he repeatedly mentions in the lyrics of this song that love can make the world be better and positivity can bring peace. These lyrics have competitive function because

Sheeran encourages people to commit doing something to change the world in polite manner.

3. Commisive a. Promising

(12) Everybody’s talking ‘bout exponential growth And the stock market crashing in their portfolios While I’ll be sitting here with a song that I wrote

In those lines, Sheerans illustrates how people are being greedy and more focus on numbers of money and losing their minds over money. So, he will just spread the love with his song as he promises. These lyrics have convivial function.

11. HOW WOULD YOU FEEL

This song is once again about his girlfriend. Sheeran confirms in an interview that all of love songs in this album are about his girlfriend. In this song, Sheeran is talking about how feel about her and that she is the only girl and makes him feel younger in a positive way when he is with her. He talks about their dating days, what 71

UNIVERSITAS SUMATERA UTARA they did and how they spend their time together, so simple yet so romantic. With all of the love he feels for her, he needs to know she feels about it.

In this song lyric found four categories of illocutionary acts: representative (6 data), directive (2 data), and commisive (1 data). The types of functions of illocutionary acts found in this song lyric are competitive (2 data), convivial (1 data), and collaborative (6 data). In conclusion there are 9 data found in this song lyric which come from 2 single lyrics and 7 combine lyrics.

1. Representative a. Stating

(1) You are the one girl And you know that it’s true

These lyrics are representative of stating. Sheeran states that she is the only one and he knows that she knows that too. The illocutionary function is collaborative because the speaker aims at ignoring social purposes.

b. Telling

(7) In the summer, as the lilacs bloom Love flows deeper than the river Every moment that I spend with you

These lyrics are representative of telling. He tells that his love towards her is like a river, he even making comparison with it that it feels like his love flows deeper than the river in every moment he spends with her. These lyrics have collaborative function because the speaker aims at ignoring social purposes. He is telling what his love towards her feels like.

(3) We were sitting in a parked car 72

UNIVERSITAS SUMATERA UTARA Stealing kisses in a parked car

He is recalling his memory of their times together. He tells that when they were sitting in a parked car, they were stealing kisses. The illocutionary function is collaborative because the speaker aims at ignoring social purposes. He is telling the moments he has with his girlfriend.

2. Directive a. Asking

(4) We got questions we should not ask but How would you feel, if I told you I loved you?

These lyrics are directive of asking. He wants to know about her feeling too because he already expresses his feeling to her many times (as mentions in the lyrics), so he asks her how would she feel if he told her he loved her to see his reactions and to know his answer. With that said he is requesting an action or a respond from her to tell him how she would feel. So, these lyrics have competitive function that has the addressee to do something and it aims at ignoring the social goal.

b. Ordering

(6) So tell me that you love me too

This lyric is directive of ordering. He orders her to tell him that she loves him too because he needs her to replay his words that said he loves her. In the previous lyrics he mentions that he wants to spend his life with her and falling deeper in love with her. So, he orders her to replay. This lyric has competitive function because ordering someone to do something is competing with the social goal. 73

UNIVERSITAS SUMATERA UTARA 3. Commisive a. Promising

(5) It’s just something that I want to do I’ll be taking my time, spending my life Falling deeper in love with you

These lyrics are commisive of promising. He promises to spend his life falling deeper in love with her, as he said that it is something he wants to do, falling in love with her over and over again every day until then „spending my life falling deeper in love with you’. The illocutionary function of these lyrics is convivial function because in the lyrics he commits to some future action that he will always loving her which means maintaining good relationship with her.

12. SUPERMARKET FLOWERS

This song is about his grandmother who had passed away in the midst of making of this song. This song is for his grandmother which is written from his mother‟s point of view, so the lyrics are quoted from his mother‟s words. In the song said how she was like an angel, and they were really sad when she passed away.

In this song lyric found four categories of illocutionary acts: representative

(12 data), directive (1 data), commisive (2 data) and expressive (1 data). The types of functions of illocutionary acts found in this song lyric are competitive (1 data), convivial (3 data), and collaborative (12 data). In conclusion there are 16 data found in this song lyric which come from 9 single lyrics and 7 combine lyrics.

UNIVERSITAS SUMATERA UTARA 1. Representative a. Telling

(1) I took the supermarket flowers from the windowsill (2) I threw the day old tea from the cup (3) Packed up the photo album Matthew had made Memories if a life that is been loved (4) Took the get well soon cards and stuffed animals (5) Pour the old ginger beer down the sink (12) I fluffed the pillows, made the beds, stacked the chairs up (13) Folded your nightgowns neatly in a case (14) John says he’d drive then put his hand on my cheek And wiped a tear from the side of my face

Those lyrics are representative of telling. He is telling to people of what his mother did at the day when his grandmother passed away (as mentions in above that this song is about her grandmother who had passed away and written from his mother point of view). She took the flowers, packed the album, fluffed the pillow, made the beds, stacked the chairs up and folded his grandmother‟s nightgowns. She was very sad that day „wiped a tear from the side of my face’ that john sympathized her „put his hand on my cheek’, a gesture to calm her down because she was crying.

The illocutionary function is collaborative because telling has no particular reason to involve politeness since the participants‟ illocutionary goals neither compete nor contribute to the social one. Sheeran intended to tell the mourning moments of their family especially his mother.

2. Directive a. Suggesting

(10) Spread your wings as you go. And when God takes you back we'll say Hallelujah

UNIVERSITAS SUMATERA UTARA This lyric is directive of suggesting. This lyric is directed towards the grandmother. Angel is a supernatural being often depicted as benevolent celestial beings that identified with symbols of bird wings. As mentioned in the lyrics that the grandmother was like an angel, she suggests her to spread her wings as she went away. The illocutionary function of this lyric is competitive function because suggesting is an act that the illocutionary goal competes with the social goal as it has the addressee to do something.

3. Commisive a. Wishing

(15) I hope that I see the world as you did cause I know A life with love is a life that is been lived

These lyrics are commisive of wishing. It commits the speaker to some future action. She hopes that she can see the world as the way her mother did. As her daughter, she had been taught by her mother with love and she hope to be like that because her mother taught her that a life with love is a life that is been lived. These lyrics have convivial function because its implementation is more meets the hearer's interest rather than the speaker.

4. Expressive a. Praising

(9) You were an angel in the shape of my mum when I fell down you’d be there holding me up

This lyric is expressive of praising. In the lyric above, Sheeran quoted his mother‟s words that praise his grandmother which said she was an angel in the shape

UNIVERSITAS SUMATERA UTARA of a mom because she was the person who always been there for her, supported her every time she needed to be supported (as mentions above that Sheeran wrote the lyrics of this song from his mother‟s point of view). This lyric has convivial function because this lyric has positive politeness. It is paying a compliment that has the positive purpose of placing a high value on the other person‟s qualities.

4.2 Data Finding

Based on the research, there are four categories of illocutionary acts in the song lyrics of Ed Sheeran‟s Divide Album analyzed in this research, namely representative, directive, commisive, and expressive. Declarations are not found in the lyrics in the song lyrics because there are no lyrics in the song lyrics that belong to the declarations category of illocutionary act. And then, there are four types of function of illocutionary acts found in the song lyrics: competitive, convivial, collaborative, and conflictive. The findings of illocutionary acts and illocutionary functions in the song lyrics of Ed Sheeran‟s Divide Album are illustrated in the following table.

4.2.1 Illocutionary Act

Table 4.1: Data Finding of Illocutionary Acts

Illocutionary Act Number of No. Title of Song Frequency Categories data Representative 13 6 1 Erase Directive 21 Expressive 2

UNIVERSITAS SUMATERA UTARA 2 Castle on the hill Representative 14 14 Representative 7 Directive 5 3 Dive 13 Expressive 1

Representative 11 8 4 Shape of you Directive 20 Commisive 1 Representative 10 Directive 4 5 Perfect 20 Commisive 3

Expressive 3 Representative 14 2 6 Galway girl Commisive 19 Expressive 3 Representative 11 2 7 Happier Commisive 16 Expressive 3 Representative 15 2 8 New man Directive 20 Commisive 3 Representative 15 Hearts do not break 1 9 Directive 17 around here Expressive 1 Representative 7 4 10 What do I know Directive 13 Expressive 2 11 How would you Representative 6 9

UNIVERSITAS SUMATERA UTARA Directive 2

Commisive 1 Representative 12 Directive 1 12 Supermarket flower 16 Commisive 2

Expressive 1

TOTAL 198

Table 4.1 shows that the total numbers of data are 198 data from 12 songs containing Illocutionary Acts. In the table we can see that the most dominant categories of Illocutionary Acts found in the album is representative with 135 data

(68.2%), followed by directive with 33 data (16.7%), expressive with 16 data (8.1%).

And commisive with 14 data (7%). From the data finding that shows in the table, the writer can conclude that Ed Sheeran in his Divide Album is mostly to get addressees to form to the belief that he is committed to a certain belief by telling, describing, stating, believing, etc.

4.2.2 Function of Illocutionary Act

Table 4.2: Data Finding of Function of Illucotionary Acts

Functions of Number illocutionary Frequency No. Title of Song of Data act

Collaborative 13 Competitive 6 1 Erase 21 Convivial 1

Conflictive 1

UNIVERSITAS SUMATERA UTARA 2 Castle on the hill Collaborative 14 14 Collaborative 7 5 3 Dive Competitive 13 Convivial 1 Collaborative 11 8 4 Shape of you Competitive 20 Convivial 1 Collaborative 10 4 5 Perfect Competitive 20 Convivial 6 Collaborative 14 6 Galway girl 19 Convivial 5 Collaborative 11 7 Happier 16 Convivial 5 Collaborative 15 Competitive 2 8 New man 20 Convivial 2

Conflictive 1 Collaborative 15 Hearts do not break 1 9 Competitive 17 around here Convivial 1 Collaborative 7 4 10 What do I know Competitive 13 Convivial 2 Collaborative 6 2 11 How would you Competitive 9 Convivial 1 Collaborative 12 12 Supermarket flower 16 Competitive 1

UNIVERSITAS SUMATERA UTARA Convivial 3 TOTAL 198

Table 4.2 shows that the most dominant type of Function of Illocutionary

Acts found in the album is collaborative function with 135 data (62%), followed by competitive function with 33 data (16.7%), convivial function with 28 data (14.1%), and conflictive function with 2 data (1%). Collaborative functions become the most dominant function in the album because the most dominant illocutionary act is representative act. Representative act always followed by collaborative function as collaborative is a function that commits the speaker to the truth of expressed proposition aims at ignoring the social purposes such as telling, stating, reporting, asserting, etc.

UNIVERSITAS SUMATERA UTARA CHAPTER V

CONCLUSIONS AND SUGGESTIONS

This research investigates illocutionary acts in song lyrics of Ed Sheeran‟s

Divide Album. Based on the findings and discussion in Chapter IV, the result shows that there are dominant category and function exist in Divide Album.

5.1 Conclusions

After analyzing the illocutionary act in Divide Album, the writer comes to the following conclusions:

1. There are four categories of illocutionary acts found in the song lyrics of Ed

Sheeran Divide Album. They are representative, directive, commissive and

expressive. Representatives are the most frequent category of lIlocutionary

acts found in the song lyrics. The use of representative is to represent the

speaker‟s belief of something that can be evaluated to be true or false. It

means that Sheeran in this album wants to represent his belief or thought to

the addressees (girlfriend, family, fans, and listeners)

2. There are four types of functions of illocutionary acts found in the song lyrics

of Ed Sheeran‟s Divide Album. They are competitive, convivial,

collaborative, and conflictive. The highest frequency of the functions of

illocutionary acts is collaborative function. Collaborative function becomes

the most dominant in this study because representative act is also the most

dominant category as collaborative is the function of representative act.

UNIVERSITAS SUMATERA UTARA 5.2 Suggestions

Based on the results, the researcher proposes some suggestions as follows:

1. To the future researchers who want to conduct the similar study can

undertake the research with deeper discussions about the social goal in the

functions of illocutionary act. The researcher suggests this research needed to

be done next in understanding the functions of illocutionary acts in order to

generate a more perfect study.

2. It is also expected from the future researchers to provide more explanation

related with the study of illocutionary functions about the linguistic behavior:

positive and negative politeness which is needed to be explained clearly of

how it is consider as positive or negative politeness in the utterances of the

speakers.

3. There are more objects of study that can be conducted with illocutionary acts

as the frame work. The other researchers can inquire in different area such as

advertisement, speech, movie and any other objects to analyze not only the

category but also the function of illocutionary act to present different result.

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UNIVERSITAS SUMATERA UTARA APPENDIX

SONG LYRICS OF ED SHEERAN’S DIVIDE ALBUM

1. ERASER

Illocutionary No. Lyrics Illocutionary Act Function I was born inside a small town, I lost that state of mind Learned to sing inside the Lord's house, but stopped at the age of nine I forget when I get awards now the Expressive of 1 Conflictive wave I had to ride blaming The paving stones I played upon, they kept me on the grind So blame it on the pain that blessed me with the life Friends and family filled with envy when they should be filled with pride And when the world's against me is Representative of 2 Collaborative when I really come alive telling And every day that Satan tempts me, I try to take it in my stride You know that I've got whisky with Representative of 3 Collaborative white lines and smoke in my lungs telling I think life has got to the point I Representative of 4 Collaborative know without it's no fun claiming I need to get in the right mind and clear myself up Directive of 5 Competitive Instead, I look in the mirror asking questioning what I've become I guess it's a stereotypical day for someone like me Without a nine-to-five job or an uni Representative of 6 Collaborative degree predicting To be caught up in the trappings of the industry Show me the locked doors, I find Directive of 7 another use of key Competitive And you'll see ordering I'm well aware of certain things that will destroy a man like me Directive of 8 Competitive But with that said give me one more, ordering higher

UNIVERSITAS SUMATERA UTARA I am happy on my own, so here I'll Representative of 9 Collaborative stay telling Save your lovin' arms for a rainy day Directive of 10 Competitive And I'll find comfort in my pain suggesting Eraser I used to think that nothing could be Representative of 11 better than touring the world with my Collaborative confessing songs I chased the pictured perfect life, I Expressive of 12 Conflictive think they painted it wrong deploring I think that money is the root of evil Representative of 13 Collaborative and fame is hell telling Relationships and hearts you fixed, they break as well And ain't nobody wanna see you Representative of 14 Collaborative down in the dumps telling Because you're living your dream, man, this shit should be fun Please know that I'm not trying to Representative of 15 Collaborative preach like I'm Reverend Run telling I beg you, don't be disappointed with Directive of 16 competitive the man I've become begging Our conversations with my father on the A14 Representative of 17 Collaborative Age twelve telling me I've gotta telling chase those dreams Now I'm playing for the people, dad, and they know me Representative of 18 Collaborative With my beat and small guitar describing wearing the same old jeans Wembley Stadium crowd's two- Representative of 19 Collaborative hundred-and-forty-thou informing The world may be filled with hate but Directive of 20 keep erasing it now Competitive suggesting Somehow Welcome to the new show Expressive of 21 Convivial greeting I guess you know I've been away Representative of 22 But where I'm heading, who knows Collaborative But my heart will stay the same predicting

UNIVERSITAS SUMATERA UTARA 2. CASTLE ON THE HILL

Illocutionary No. Lyrics Illocutionary Act Function When I was six years old I broke my Representative of 1. Collaborative leg telling I was running from my brother and his friends Representative of 2. Collaborative And tasted the sweet perfume of the describing mountain grass I rolled down I was younger then, take me back to Representative of 3. when Collaborative I Found my heart and broke it here telling Made friends and lost them through the years Representative of 4. And I've not seen the roaring fields in Collaborative so long, I know I've grown telling But I can't wait to go home I'm on my way Representative of 5. Collaborative telling And I miss the way you make me Representative of 6. Collaborative feel, and it's real confessing We watched the sunset over the Representative of 7. Collaborative castle on the hill telling Fifteen years old and smoking hand- Representative of 8. Collaborative rolled cigarettes telling Running from the law through the Representative of 9. backfields and getting drunk with my Collaborative describing friends Had my first kiss on a Friday night, I Representative of 10. Collaborative don't reckon that I did it right telling But I was younger then, take me back to when Representative of 11. Collaborative We found weekend jobs, when we describing got paid We'd buy cheap spirits and drink Representative of 12. Collaborative them straight telling One friend left to sell clothes One works down by the coast One had two kids but lives alone Representative of 13. Collaborative One's brother overdosed reporting One's already on his second wife One's just barely getting by

UNIVERSITAS SUMATERA UTARA But these people raised me and I can't wait to go home I still remember this old country Representative of 14. Collaborative lanes telling

3. DIVE

Illocutionary No. Lyrics Illocutionary Act Function Maybe I came on too strong Maybe I waited too long Representative of 1 Collaborative Maybe I played my cards wrong predicting Oh, just a little bit wrong Baby I apologize for it Expressive of 2 Convivial apologizing I could fall, or I could fly Here in your aeroplane Representative of 3 Collaborative And I could live, I could die Hanging telling on the words you say And I‟ve been known to give my all Representative of 4 And jumping in harder than Ten Collaborative telling thousand rocks on the lake So don’t call me baby Directive of 5 Competitive Unless you mean it warning Don’t tell me you need me Directive of 6 Competitive If you don‟t believe it warning So let me know the truth Directive of 7 Competitive Before I dive right into you requesting You‟re a mystery Representative of 8 Collaborative telling I have travelled the world, there‟s no Representative of 9 Collaborative other girl like you telling No one, what’s your history? Directive of 10 Competitive asking Do you have a tendency to lead Directive of 11 Competitive some people on? asking And lie awake, everyday don't know Representative of 12 Collaborative how much I can take telling Sitting back, looking at every messy Representative of 13 Collaborative that I made telling

UNIVERSITAS SUMATERA UTARA 4. SHAPE OF YOU

Illocutionary No. Lyrics Illocutionary Act Function The club isn't the best place to find a Representative of 1 lover Collaborative So the bar is where I go stating Me and my friends at the table doing Representative of 2 shots Drinking fast and then we talk Collaborative describing slow Come over and start up a Directive of 3 Competitive conversation with just me commanding And trust me I'll give it a chance Commisive of 4 Convivial now promising Take my hand, stop, put Van the Man on the jukebox Directive of 5 Competitive And then we start to dance, and now ordering I'm singing like Girl, you know I want your love Representative of 6 Collaborative telling Your love was handmade for Representative of 7 Collaborative somebody like me telling Come on now, follow my lead Directive of 8 Competitive commanding I may be crazy, don't mind me Directive of 9 Competitive ordering Say, boy, let's not talk too much Directive of 10 Competitive ordering Grab on my waist and put that body Directive of 11 Competitive on me commanding I'm in love with the shape of you Representative of 12 Collaborative confessing We push and pull like a magnet do Representative of 13 Collaborative describing And last night you were in my room Representative of 14 And now my bed sheets smell like Collaborative describing you Every day discovering something Representative of 15 Collaborative brand new stating One week in we let the story begin Representative of 16 We're going out on our first date Collaborative You and me are thrifty, so go all you telling

UNIVERSITAS SUMATERA UTARA can eat Fill up your bag and I fill up a plate Representative of 17 Competitive commanding We talk for hours and hours about the Representative of 18 sweet and the sour Collaborative telling And how your family is doing okay Leave and get in a taxi, then kiss in Representative of 19 Collaborative the backseat telling Tell the driver make the radio play Representative of 20 Competitive commanding

5. PERFECT Illocutionary No. Lyrics Illocutionary Act Function I found a love for me Representative of 1 Collaborative stating Darling just dive right in Directive of 2 Competitive And follow my lead ordering Well I found a girl beautiful and Representative of 3 Collaborative sweet stating I never knew you were the someone Representative of 4 Collaborative waiting for me telling 'Cause we were just kids when we Representative of 5 fell in love Collaborative Not knowing what it was telling I will not give you up this time Commisive of 6 Convivial promising But darling, just kiss me slow, your Directive of 7 heart is all I own Competitive And in your eyes you're holding mine ordering Baby, I'm dancing in the dark with you between my arms Representative of 8 Collaborative Barefoot on the grass, listening to our describing favorite song When you said you looked a mess, I whispered underneath my breath Expressive of 9 Convivial But you heard it, darling, you look praising perfect tonight Well I found a woman, stronger Representative of 10 Collaborative than anyone I know stating 11 She shares my dreams, I hope that Commisive of Convivial

UNIVERSITAS SUMATERA UTARA someday I'll share her home wishing I found a love, to carry more than just my secrets Representative of 12 Collaborative To carry love, to carry children of our telling own We are still kids, but we're so in love Representative of 13 Collaborative Fighting against all odds telling I know we'll be alright this time Commisive of 14 Convivial promising Darling, just hold my hand Directive of 15 Competitive ordering Be my girl, I'll be your man Directive of 16 Competitive requesting I see my future in your eyes Representative of 17 Collaborative telling I don't deserve this, darling, you look Expressive of 18 Convivial perfect tonight praising I have faith in what I see Representative of 19 Collaborative telling Now I know I have met an angel in Expressive of 20 person Convivial And she looks perfect praising

6. GALWAY GIRL Illocutionary No. Lyrics Illocutionary Act Function She played the fiddle in an Irish band Representative of 1 But she fell in love with an English Collaborative telling man Kissed her on the neck and then I Representative of 2 took her by the hand Collaborative Said, "baby, I just want to dance" describing I meet her on Grafton street right Representative of 3 Collaborative outside of the bar describing She shared a cigarette with me while Representative of 4 Collaborative her brother played the guitar describing Do you want to drink on? commisive of 5 Competitive offering She took Jamie as a chaser, Jack for Representative of 6 Collaborative the fun telling 7 She got Arthur on the table with Representative of Collaborative

UNIVERSITAS SUMATERA UTARA Johnny riding as a shotgun telling Chatted some more, one more drink at the bar Representative of 8 Collaborative Then put Van on the jukebox, got up describing to dance You're my pretty little Galway girl Expressive of 9 Convivial praising You know she beat me at darts and then she beat me at pool Representative of 10 Collaborative And then she kissed me like there telling was nobody else in the room As last orders were called was when she stood on the stool Representative of 11 Collaborative After dancing to Kaleigh, singing to describing trad tunes I never heard Carrickfergus ever Expressive of 12 Convivial sang so sweet praising A capella in the bar using her feet for Representative of 13 Collaborative a beat telling Oh, I could have that voice playing on repeat for a week Expressive of 14 Convivial And in this packed out room swear praising she was singing to me And now we've outstayed our Representative of 15 Collaborative welcome and it's closing time telling I was holding her hand, her hand was Representative of 16 Collaborative holding mine telling Our coats both smell of smoke, whisky and wine Representative of 17 Collaborative As we fill up our lungs with the cold describing air of the night I walked her home then she took me inside Representative of 18 Collaborative To finish some Doritos and another describing bottle of wine I swear I'm gonna put you in a song that I write Commisive of 19 Convivial About a Galway girl and a perfect promising night

UNIVERSITAS SUMATERA UTARA 7. HAPPIER Illocutionary No Lyrics Illocutionary Act Function Walking down 29th and Park Representative of 1 I saw you in another's arms Collaborative Only a month we've been apart telling You look happier Expressive of 2 Convivial praising Saw you walk inside a bar Representative of 3 Collaborative telling He said something to make you laugh Representative of 4 Collaborative telling I saw that both your smiles were Representative of 5 Collaborative twice as wide as ours describing Yeah, you look happier, you do Expressive of 6 Convivial praising Ain't nobody hurt you like I hurt you Representative of 7 Collaborative But ain't nobody love you like I do stating Promise that I will not take it personal, baby Commisive of 8 Convivial If you're moving on with someone promise new 'Cause baby you look happier, you Expressive of 9 Convivial do praising My friends told me one day I'll feel it too Representative of 10 And until then I'll smile to hide the Collaborative truth telling But I know I was happier with you Sat on the corner of the room Representative of 11 Collaborative Everything's reminding me of you telling Nursing an empty bottle and telling Representative of 12 myself you're happier Collaborative Aren't you? telling I know that there's others that deserve you Representative of 13 But my darling, I am still in love Collaborative with you confessing But I guess you look happier, you do I could try to smile to hide the truth Representative of 14 Collaborative telling I know I was happier with you Representative of 15 Collaborative confessing

UNIVERSITAS SUMATERA UTARA I knew one day you'd fall for someone new Commisive of 16 But if breaks your heart like lovers do Convivial Just know that I'll be waiting here promise for you

8. NEW MAN Illocutionary No Lyrics Illocutionary Act Function I heard he spent five hundred pounds on jeans Goes to the gym at least six times a week Wears both shoes with no socks on his feet And I hear he's on a new diet at Representative of 1 watches what he eats Collaborative He's got his eyebrows plucked and describing his asshole bleached Owns every single Ministry CD Tribal tattoos and he don't know what it means But I heard he makes you happy, so that's fine by me But still, I'm just keepin' it real Representative of 2 Collaborative telling Still lookin' at your Instagram and Representative of 3 Collaborative I'll be creepin' a lil' confessing I'll be tryin' not to double tap, from way back Representative of 4 Collaborative 'Cause I know that's where the telling trouble's at Let me remind you of the days when You used to hold my hand Representative of 5 Collaborative And when we sipped champagne out telling of cider cans I guess if you were Louis Lane, I Representative of 6 wasn't Superman Collaborative Just a young boy tryin' to be loved stating So let me give it to ya I don't wanna know about your Commisive of 7 new man Conflictive refusing 'Cause if it was meant to be You wouldn't be callin' me up tryin' to

UNIVERSITAS SUMATERA UTARA 'Cause I'm positive that he don't wanna know about me I know you're missin' all this kind of Representative of 8 Collaborative love telling But I'm positive that he don't wanna Representative of 9 Collaborative know about me predicting Every year, he goes to Málaga with all the fellas Drinks beer, but has a six pack, I'm kinda jealous He wears sunglasses indoors, in Representative of 10 Collaborative winter, at nighttime describing And every time a rap song comes on, he makes a gang sign Says, chune, boy never light up the room But enough about him, girl, let's talk Directive of 11 Competitive about you requesting You were the type of girl who sat beside the water readin' Representative of 12 Collaborative Eatin' a packet of crisp, but you will describing never find you cheatin' Now you're eatin' kale, hittin' the gym keepin' up with Kylie and Kim Representative of 13 Collaborative In the back of the club, kissin' a boy describing that ain't him Okay, you need to be alone Commisive of 14 And if you wanna talk about it, you Convivial offering can call my phone I just thought I would tell you, 'cause Commisive of 15 Convivial oughta know promise You're still a young girl tryin' to be Representative of 16 Collaborative loved stating Baby, I'm not tryin' to ruin your week Representative of 17 Collaborative But you act so differently telling When you're with him, I know you're Representative of 18 Collaborative lonely telling Please remember you're still free Representative of 19 Collaborative To make the choice and leave advising Don't call me up, you need to show Directive of 20 Competitive me ordering

UNIVERSITAS SUMATERA UTARA 9. HEARTS DON‟T BREAK AROUND HERE Illocutionary No Lyrics Illocutionary Act Function She is the sweetest thing that I know Representative of 1 Collaborative stating You should see the way she holds Directive of 2 Competitive me when the lights go low ordering Shakes my soul like a pot hole, every Representative of 3 Collaborative time telling Took my heart upon a one way trip Representative of 4 Collaborative Guess she went wandering off with it predicting Unlike most women I know Representative of 5 Collaborative This one will bring it back whole believing Oh my baby, lately I know That every night I'll kiss you you'll Commisive of 6 Convivial say in my ear promise Oh we're in love aren't we? Hands in your hair, fingers and Representative of 7 Collaborative thumbs baby describing I feel safe when you're holding me Representative of 8 Collaborative near confessing Love the way that you conquer your Representative of 9 Collaborative fear stating You know hearts don't break around Representative of 10 Collaborative here convincing She is the river flow in Orwell Representative of 11 And tin wind chimes used for Collaborative describing doorbells Fields and trees and her smell, fill my Representative of 12 Collaborative lungs telling Spent my summer time beside her Representative of 13 Collaborative And the rest of the year the same telling She is the flint that sparks the lighter Representative of 14 And the fuel that will hold the flame Collaborative describing Well I found love in the inside Representative of 15 Collaborative The arms of a woman I know stating She is the lighthouse in the night that Representative of 16 Collaborative will safely guide me home describing And I'm not scared of passing over Representative of 17 Collaborative Or the thought of growing old confessing

UNIVERSITAS SUMATERA UTARA 10. WHAT DO I KNOW Illocutionary No Lyrics Illocutionary Act Function Ain't got a soapbox I can stand upon Representative of 1 But God gave me a stage, a guitar Collaborative telling and a song I'll paint the picture, let me set the Commisive of 2 Convivial scene promising I know when I have children they will know what it means And I pass on these things my Representative of 3 Collaborative family's given to me telling Just love and understanding, positivity We could change this whole world with a piano Representative of 4 Collaborative Add a bass, some guitar, grab a beat convincing and away we go I'm just a boy with a one-man show Representative of 5 No university, no degree, but lord Collaborative describing knows Everybody's talking 'bout exponential growth And the stock market crashing in Commisive of 6 Convivial their portfolios promising While I'll be sitting here with a song that I wrote Sing, love could change the world in Directive of 7 a moment Competitive But what do I know? asking The revolution's coming, it's a Representative of 8 Collaborative minute away predicting I saw people marching in the streets Representative of 9 Collaborative today telling You know we are made up of love and hate Representative of 10 Collaborative But both of them are balanced on a telling razor blade I know, I'm all for people following their dreams Directive of 11 Just re-remember life is more than Competitive fittin' in your jeans suggesting It's love and understanding, positivity 12 You know, the future's in the hands Directive of Competitive

UNIVERSITAS SUMATERA UTARA of you and me suggesting So let's all get together, we can all be free Spread love and understanding, Directive of 13 Competitive positivity encouraging

11. HOW WOULD YOU FEEL Illocutionary No Lyrics Illocutionary Act Function You are the one girl Representative of 1 Collaborative And you know that it's true stating I'm feeling younger Representative of 2 Collaborative Every time that I'm alone with you confessing We were sitting in a parked car Representative of 3 Collaborative Stealing kisses in the front yard describing We got questions we should not ask but Directive of 4 Competitive How would you feel, if I told you I asking loved you? It's just something that I want to do I'll be taking my time, spending my Commisive of 5 Convivial life promising Falling deeper in love with you So tell me that you love me too Directive of 6 Competitive ordering In the summer, as the lilacs bloom Representative of 7 Love flows deeper than the river Collaborative Every moment that I spend with you telling We were sat upon our best friend's Representative of 8 Collaborative roof describing I had both of my arms round you Representative of 9 Watching the sunrise replace the Collaborative describing moon

12. SUPERMARKET FLOWERS Illocutionary No Lyrics Illocutionary Act Function I took the supermarket flowers from Representative of 1 Collaborative the windowsill telling I threw the day old tea from the cup Representative of 2 Collaborative telling

UNIVERSITAS SUMATERA UTARA Packed up the photo album Matthew Representative of 3 had made Collaborative Memories of a life that's been loved telling Took the get well soon cards and Representative of 4 Collaborative stuffed animals telling Poured the old ginger beer down the Representative of 5 Collaborative sink telling Dad always told me, "don't you cry when you're down" Representative of 6 Collaborative But mum, there's a tear every time telling that I blink Oh I'm in pieces, it's tearing me up, but I know Representative of 7 Collaborative A heart that's broke is a heart that's telling been loved So I'll sing Hallelujah Commisive of 8 Convivial promising You were an angel in the shape of my mum Expressive of 9 Convivial When I fell down you'd be there praising holding me up Spread your wings as you go Directive of 10 And when God takes you back we'll Competitive suggesting say Hallelujah You're home Representative of 11 Collaborative telling I fluffed the pillows, made the beds, Representative of 12 Collaborative stacked the chairs up telling Folded your nightgowns neatly in a Representative of 13 Collaborative case telling John says he'd drive then put his hand on my cheek Representative of 14 Collaborative And wiped a tear from the side of my telling face I hope that I see the world as you did cause I know Commisive of 15 Convivial A life with love is a life that's been wishing lived You got to see the person that I have Representative of 16 Collaborative become telling

UNIVERSITAS SUMATERA UTARA