Discourse Analysis of the Interaction Between the Therapist and the King in Overcoming the King’S Stuttering Disorder in Tom Hooper’S the King’S Speech

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DISCOURSE ANALYSIS OF THE INTERACTION BETWEEN THE THERAPIST AND THE KING IN OVERCOMING THE KING’S STUTTERING DISORDER IN TOM HOOPER’S THE KING’S SPEECH

A THESIS

Presented as a Partial Fulfillment of the Requirements

to Obtain the Magister Humaniora (M.Hum.) Degree

in English Language Studies

Nurvita Wijayanti

Student Number: 146332019

THE GRADUATE PROGRAM OF ENGLISH LANGUAGE STUDIES

SANATA DHARMA UNIVERSITY

YOGYAKARTA

2016

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ACKNOWLEDGEMENTS

It is a delightful opportunity for me to express my deepest gratitude to all of those who have supported me in accomplishing this thesis. Firstly, my deepest gratitude goes to Allah SWT for showing me the light to have my courage finishing this thesis.

I present the best gratitude to my lovely advisor Dr. B.B Dwijatmoko,

M.A. for his guidance and patience. He has been a good advisor who has listened and shared opinion regarding the ideas contributing in this thesis. Great thanks also go to Dr. Francis Borgias Alip, M.Pd., M.A. and Dr. E. Sunarto, M.Hum who give me a fruitful contribution to my thesis as the second readers.

I dedicate this thesis to my lovely parents, Martini Lastianingsih, S.H and

(alm) Pranoto, S.H, and siblings, Fajar Putra Pradika and Yudanti Kurnia Dewi, who are always be my motivation whenever I am about to give up finishing this thesis. Their endless love indeed works to keep up my encouragement and spirit.

Many thanks are also presented to all people in English Language Studies especially batch 2014, batch 2015, all the staff, and lecturers. People who are helpful in any condition: Mas Adit, Ruly and Indra. Last but not least, I present this thesis to my life time best friends: Wuri Handayaningsih, Sabina Pristiwati,

Redys Febrianti, Hafsyah, Edwin Sugara, Rudi Irawan, Billy Talusakata,

Josephine Dewi, Theresia Respati, Ch. Eli Indriyani, Dangin, Wasisti Argo T.R,

Sisilia Endah L. for their best support from afar.

Nurvita Wijayanti

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A journey of a thousand miles begins with a single step

Anonymous

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Page of Dedication

I dedicate this thesis to my beloved FAMILY

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Table of Contents

COVER PAGE ...... i APPROVAL PAGE ...... Error! Bookmark not defined. STATEMENT OF WORK’S ORIGINALITY ...... iii LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI UNTUK KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS ...... Error! Bookmark not defined. ACKNOWLEDGEMENTS ...... v PAGE OF DEDICATION ...... viii TABLE OF CONTENTS ...... ix ABSTRACT ...... xii ABSTRAK ...... xiii CHAPTER I: INTRODUCTION ...... 1 1.1 Background of the Study ...... 1 1.2 Research Question ...... 6 1.3 Research Objectives ...... 6 1.4 Research Benefits...... 8 CHAPTER II: LITERATURE REVIEW ...... 10 2.1 Discourse Analysis...... 10 2.1.1 Written Text ...... 12 2.1.2 Implicature ...... 12 2.2 Seven Building Tasks of Language Use ...... 13 2.2.1 Significance ...... 13 2.2.2 Activities ...... 14 2.2.3 Identities ...... 14 2.2.4 Relationships ...... 15 2.2.5 Politics ...... 15 2.2.6 Connections ...... 16 2.2.7 Sign System and Knowledge ...... 16 2.3 Systemic Functional Grammar ...... 17 2.3.1 Ideational Function (Transitivity) ...... 17 2.3.2 Interpersonal Function ...... 18 2.3.3 Textual Function ...... 20

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2.4 Stuttering as Psychological Disorder ...... 21 2.4.1 The Treatment for Stutterers ...... 26 2.4.3.1 Valsalva Mechanism ...... 26 2.4.3.2 The Van Riperian Method ...... 28 2.5 Related studies ...... 29 2.6 Theoretical framework ...... 30 CHAPTER III: RESEARCH METHODOLOGY ...... 32 3.1 Research Type ...... 32 3.2 Research Object ...... 32 3.3 Research Data ...... 33 3.4 Data analysis ...... 34 3.4.1 Seven Building Tasks of Language ...... 35 3.4.2 Systemic Functional Grammar ...... 37 CHAPTER IV: RESULT AND DISCUSSION...... 39 4.1 Discourse of the Script of the Interaction between the Therapist and the King...... 39 4.1.1 Seven Building Tasks of Language ...... 39 4.1.1.1 Significance ...... 41 4.1.1.2 Activities ...... 45 4.1.1.3 Identities ...... 50 4.1.1.4 Relationships ...... 53 4.1.1.5 Politics ...... 54 4.1.1.6 Connections ...... 55 4.1.1.7 Sign System and Knowledge ...... 56 4.1.2 Ideational Function ...... 58 4.1.2.1 Material Process ...... 60 4.1.2.2 Mental Process ...... 63 4.1.2.3 Relational Process ...... 65 4.1.3 Interpersonal Function ...... 66 4.1.4 Textual Function ...... 82 4.2 The Power of Language to Overcome the Stuttering Compared with the Standard Treatment ...... 97 CHAPTER V: Conclusion and Suggestion ...... 102

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5.1 Conclusion ...... 102 5.2 Suggestion ...... 105 BIBLIOGRAPHY ...... 106 APPENDICES ...... 111 Appendix 1 Ideational Process ...... 111 TABLE 1.1 IDEATIONAL METAFUNCTION : part 1 int. logue‟s consultation room - day ...... 111 TABLE 1.2 IDEATIONAL METAFUNCTION : part 2 int. logue‟s consultation room - new day ...... 117 TABLE 1.3 IDEATIONAL METAFUNCTION : part 4 int. logue‟s consultation room – continuous ...... 121 TABLE 1.4 IDEATIONAL METAFUNCTION : part 6 int. logue‟s consultation room, harley street - new day ...... 126 TABLE 1.5 IDEATIONAL METAFUNCTION : part 7 ext. regent‟s park ornamental garden – day ...... 129 TABLE 1.6 IDEATIONAL METAFUNCTION : part 13. int. westminster abbey - that night ...... 131 TABLE 1.7 IDEATIONAL METAFUNCTION : part 14. int. bertie‟s study, buckingham palace – day ...... 137 TABLE 1.8 IDEATIONAL METAFUNCTION : part 16. int. broadcasting booth – day ...... 140 TABLE 1.9 IDEATIONAL METAFUNCTION : part 17. int. king‟s study/broadcast room, buckingham palace – day ...... 141 TABLE 1.10 IDEATIONAL METAFUNCTION: part 18. int./ext. montage of various locations ...... 142 TABLE 1.11 IDEATIONAL METAFUNCTION : part 19. int. broadcasting booth, buckingham palace – continuous ...... 144 TABLE 1.12 IDEATIONAL METAFUNCTION : part 21. int. broadcasting booth, buckingham palace – continuous ...... 144 APPENDIX 2 INTERPERSONAL FUNCTION ...... 145 TABLE 2.1 INTERPERSONAL FUNCTION: part 1 int. logue‟s consultation room - day ………………………...... 145 TABLE 2.2 INTERPERSONAL FUNCTION: part 4 int. logue‟s consultation room – continuous ...... 152

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ABSTRACT

Nurvita Wijayanti. 2016. Discourse Analysis of the Interaction between the Therapist and the King in Overcoming the King‟s Stuttering Disorder in Tom Hooper‟s The King‟s Speech. Yogyakarta: Graduate Program on English Language Studies, Sanata Dharma University.

The study of discourse analysis in this research reveals the power of language use to overcome someone‟s disorder. Through the proper approach, the discourse analysis can be the means to analyze the significance of the language use to overcome the stuttering that is part of the psychological disorder. Through its interaction between the therapist and the king, the discourse analysis has abundant examples in the power of language use. The approaches of this research are Halliday‟s Systemic Functional Grammar (SFG) and Gee‟s Seven Building Tasks of Language (SBTL). Two research questions are employed to reach the goal of the research. They are (1) What discourse implies the power of language in the interaction between the therapist and the king? and (2) How does the power of language overcome the king‟s stuttering compared with the standard treatment? The type of the research is discourse analysis. The supported theory is stuttering as the psychological disorder to examine the activities that are in the language use implementation. Furthermore, the interaction that is part of the treatment is the main object to be analyzed through the SFG (Transitivity, Interpersonal and Textual process) and SBTL (significance, activities, identities, relationships, connections, politics, and system and knowledge). The data collection uses the first cycle that is included twelve (12) parts of interaction only between the therapist and the king. The language use related to the significances, activities, identities, relationships, politics, connection and sign system and knowledge reveals that the therapist‟s intention toward the king. They acquire the equality during the treatment. The Transitivity, Interpersonal and Textual show the dynamic process during the interaction by analyzing the clause using the process of doing-and- happening, feeling and the token; the Mood system and Tone; and marked and unmarked theme selection. By implementing SFG and SBTL, this research has proven that discourse analysis that is conducted in the significant chunk of clause reveals the power of language use in overcoming the king‟s stuttering. The actual standard treatment combined the mental approach and distractive method is proved to match with the process in the movie.

Keywords: discourse analysis, seven building tasks of language, systemic functional grammar, stuttering disorder

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ABSTRAK

Nurvita Wijayanti. 2016. Discourse Analysis of the Interaction between the Therapist and the King in Overcoming the King‟s Stuttering Disorder in Tom Hooper‟s The King‟s Speech . Yogyakarta: Program Pasca-Sarjana Kajian Bahasa Inggris. Universitas Sanata Dharma.

Analisa wacana pada studi ini menunjukkan kekuatan dari penggunaan bahasa untuk menyembuhkan penyakit seseorang. Melalui pendekatan yang tepat, analisa wacana dapat menjadi alat penghubung untuk menganalisa penggunaan bahasa yang signifikan untuk menyembuhkan kegagapan yang adalah bagian dari penyakit psikologi. Melalui interaksi antara si terapis dan sang raja, analisa wacana sangat kaya dengan sampel-sampel akan kekuatan penggunaan bahasa. Pendekatan pada penelitian ini antara lain Fungsi Grammar Terpadu milik Halliday dan Tujuh Tugas Pembentukan Bahasa milik Gee. Dua pertanyaan digunakan untuk mencapai tujuan penelitian. Mereka adalah (1) Wacana apa yang mengimplikasikan kekuatan dari bahasa pada interaksi antara si terapis dan sang raja? dan (2) Bagaimana kekuatan bahasa dapat menyembuhkan kegagapan raja dibandingkan dengan perawatan standar? Jenis dari penelitian ini adalah analisa wacana yang adalah penelitian mengenai penggunaan bahasa. Teori yang mendukung adalah teori mengenai kegagapan yang merupakan penyakit psikologis untuk membuktikan aktifitas- aktifitas di dalam implementasi penggunaan bahasa. Selanjutnya, proses interaksi yang merupakan bagian dari terapi adalah objek utama untuk dianalisa melalui Fungsi Grammar Terpadu (Transitivity, Interpersonal dan Textual) dan Tujuh Tugas Pembentukan Bahasa (Kepentingan, Aktifitas, Identitas, Hubungan, Koneksi, Politik dan Sistem Tanda dan Pengetahuan). Pengumpulan data menggunakan siklus pertama termasuk didalamnya dua belas (12) bagian interaksi hanya antara si terapis dan sang raja. Penggunaan bahasa yang berhubungan dengan Kepentingan, Aktifitas, Identitas, Hubungan, Koneksi, Politik dan Sistem Tanda dan Pengetahuan menunjukan adanya maksud dari si terapis kepada sang raja yaitu mencapai persamaan derajat selama masa terapi. Proses Transitivity, Interpersonal dan Textual menunjukkan proses dinamis selama berinteraksi dengan menganalisa klausa yang menunjukkan proses melakukan-dan-terjadi, perasaan dan token; sistem Mood dan Tone; marked dan unmarked theme selection. Mengimplementasikan Fungsi Grammar Terpadu dan Tujuh Tugas Pembentukan Bahasa, penelitian ini telah membuktikan yang didapatkan dari analisa klausa menunjukkan bahwa ada kekuatan dalam penggunaan bahasa yang signifikan dalam menyembuhkan kegagapan sang raja. Terapi standar termutakhir yang

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mengkombinasikan pendekatan batin dan metode distraksi telah membuktikan bahwa kedua metode ini cocok dengan metode yang ada di dalam film.

Keywords: analisa wacana, fungsi grammar terpadu, tujuh tugas pembentukan bahasa, gagap

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CHAPTER I

INTRODUCTION

1.1 Background of the Study

Language consists of several disciplines such as phonetics, phonology, morphology, syntax, semantics and pragmatics. Each discipline studies the different perspectives therefore it reveals the basic language studies in linguistics.

In order to analyze the implication of language use, those knowledge are not enough to cover the study, therefore, discourse study is needed in order to analyze the language use since language is a way of behaving and making others behave and therefore the linguist must concern himself with the verbal process in the context of the situation (Nunan, 1992).

From the previous explanation, discourse analysis is a good start to learn about linguistic knowledge that can cover the whole knowledge. Discourse focuses on the use of language. It can be in spoken or written texts. Discourse is a unit of language above and beyond a mere accumulation of sounds, morphemes, words, clauses and sentences (Fasold & Jeff, 2006).

The analysis of language in use cannot be limited to the description of linguistics forms independently. It is because the purpose or functions are designed to serve in human affairs (Yule, Gillian Brown & George, 1983).

Furthermore, the discourse analysis analyzes the text in spoken as in the movie. It is not only a matter of language based on the conversation but also it shows the paralanguage that has significance. Discourse-based grammar with support from

Halliday and Hasan (1976) has been formed. It is said that discourse-based

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grammar is worth to analyze rather than traditional explanations of grammar which is known as sentence-based (Paltridge, 2006).

The King‟s Speech is the object of this research. The movie has been released in 2010 starring Firth Collin as the King George VI and Geoffrey Rush as the unorthodox therapist, Lionel Logue. Edward, the favored son of the father

George V has fallen in love with a divorced commoner therefore he gives up his position as the crowned king. It is Albert, Edward‟s younger brother who will be the next king. The problem is that Albert has stuttering disorder and it is his duty to give a speech in front of the people in order to gain the nation fortitude and trust. In this emergency, stutter is a symbol of national shame. Albert consults

Lionel Logue as a speech therapist. Their process of interaction is the heart of the movie and the triumph of how their relationship becomes the main focus in the movie and therefore becomes the object of the analysis of discourse.

Stuttering is the disorder in the fluency of speaking and talk pattern in the age that is not supposed to (American Psychiatric Association, 2000). Stuttering is disorders in the rhythm of speech, in which the individual knows precisely that he wishes to say, but at the same time is unable to say it because of an involuntary, repetitive prolongation or cessation of a sound (WHO, 1992). The symptoms show that the sufferer has experienced one or more extending sound or word, halting to the word, holding voice and being phatic. King George starts having this stuttering disorder when he was eight years old. In some brief explanation, he gets the disorder because he has received suppression during his childhood by his parents and other people surround him and it turns out that he was left-handed but he has to make it right-handed (Biography Editors,2015).

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Journals discuss the theories on how to overcome with the disorder especially the appropriate curing done by the therapist. Those theories are used in applying the activity relating to the curing in the sufferer especially in this study.

What makes this present study different with the other studies is that the way the researcher analyzes the language use of the interaction between the therapist, who applies his unorthodox treatment, and the king. At the end of the movie, the therapist has succeeded applying his treatment to the king. Therefore, the writer would like to analyze the way the therapist treats the king by using his unorthodox exercises through the discourse analysis

The other researches relating to the movie The King‟s Speech have existed. The researchers are mostly talk about the discourse but in different perspectives and approaches. The writer has found one article, one journal and one thesis to be used to compare the originality of this study. The studies are from

Bernard Frankel, Saima Karim and Riha Rahma Mufida.

Bernard Frankel writes an article comparing the two movies; The King‟s

Speech and The Fighter in order to review the two academy award selections. He has been composed the journal on 2011. He analyzes those two movies in finding the similarity of system theory meeting the object relations during the behavioral exercises. It compares those two movies as the struggle in disorder and how the process becomes the crucial part of the overcoming the disorders; Albert with his stutter and Micky‟s masochism. It also shows the relation between brothers;

Albert with Edward and Micky with Dicky (Frankel, 2011).

Journal written in 2015 titled Style and Language of Inequality in the

Movie, The King‟s Speech that is written by Saima Karim is quite different with

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the previous one. It analyzes the power of language in the movie King‟s Speech.

It turns out that the relationship between language and social inequality is the idea that some expressions of language are valued more than others in a way that is associated with some people being more valued than others and some ideas expressed by people through language being more valued than others (Karim,

2015).

The last study is from Riha Rahma Mufida in her thesis titled The

Discourse of The King‟s Speech Film by Tom Hooper. This research uses

Cultural Studies as the approach to the discourse analysis. It uses the qualitative data analysis and data analysis techniques descriptively and interpretatively.

Other than using Cultural Studies approach, it uses the hermeneutic approach

(Mufida, 2015).

This present research focuses on the discourse analysis that contributes the application of English Linguistics as a part of everyday use through language.

It implies that linguistics also has to be aware of the non-linguistic knowledge to be able to go together as a combination of knowledge. The language that the therapist uses in the movie is the target of the research. It also includes the gestures and the exercises through the treatment.

Prince Albert and Princess Elizabeth were able to solidify their relationship during the first several years of marriage. Recognizing that his stammer was an ordeal for her husband and his audiences, Elizabeth sought the help of Lionel Logue, an Australian speech therapist living in London. At first reluctant, Prince Albert began seeing Logue and partaking in his unorthodox exercises. His wife often accompanied him and participated in the sessions. Prince Albert and Logue cultivated a strong relationship and, gradually, his speech improved. (Editors, 2015). This movie introduces many language uses through the interaction between the two main characters; king George VI and therapist Lionel Logue as

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the richness of language use is the significant aspect in communication and social interaction. Moreover, the unorthodox method that is introduced by the therapist enriches the analysis with the knowledge of the psychological aspect.

Two main recent approaches of discourse analysis are introduced. They are Seven Building Tasks of Language and Systemic Functional Grammar. In

Seven Building Tasks of Language, the language and its task are not just about conveying information, but also it is used to build seven reality in discourse.

They are its significance, activities, identities, relationships, connections, politics, and sign system and knowledge (Gee, 2011). Systemic Functional Grammar is the recent theory to analyze the discourse analysis as one of many approaches. It deals with language study using clause as the main object of the analysis. Each clause represents the purpose namely clause as message, clause as exchange and clause as representation (Halliday, 2004).

The approach of the discourse analysis is the use of the structure of language, thus Gee‟s Seven Building Tasks of Language and Halliday‟s Systemic

Functional Grammar are supported the analysis. Using the Seven Building Tasks of Language, the researcher is going to find the seven areas of „reality‟ that the language wants to reveal. It is revealed through its significance, activities, identities, relationships, politics, connection and sign system and knowledge.

Moreover, Systemic Functional Grammar is used to get the detail analysis in using the ideational, interpersonal and textual function. The process of doing, being, feeling and having is going to be discussed along with the Theme and

Mood system and marked and unmarked theme selection. Therefore, the study of language is achieved through the approaches.

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Using The King‟s Speech movie to analyze the language use is essential in contributing to the field of overcoming stuttering with particular approach that is introduced by the therapist. Moreover, this movie is based on the true story that can be confirmed through its originality of the treatment. The linguistic contribution also strengthens the analysis in discourse analysis using Seven

Building Tasks of Language and Systemic Functional Grammar. The supported theory of stuttering as a psychological disorder confirms the background of the king‟s stuttering.

1.2 Research Question

There are two research questions relating to the study of discourse analysis in the movie titled The King‟s Speech by Tom Hooper in 2010.

1. What discourse implies the power of language in the interaction

between the therapist and the king?

2. How does the power of language overcome the king‟s stuttering

compared with the standard treatment?

1.3 Research Objectives

The power of language has significant role in order to overcome the stuttering. It is used by the therapist to treat the king. The chunk of language is the product of the power of language. Based on the questions, there are two objectives in this research.

The first objective is to explain the chunk of language that is used both by the therapist and the king. The discursive practice is in the interaction between the therapist and the king. The part of it is revealed through the chunk of language that is spoken by the therapist and the king. The tasks of language in

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order to analyze the language use are accentuated in this research. The use of clause is also analyzed based on the representation, message and exchange.

Therefore, the discourse practice is analyzed through the element of language use and the representation of the clauses.

The second objective is to figure out how the chunk of the language really works in order to overcome the king‟s stuttering. The chunk of language, in this case, has been analyzed through the discourse. By having the analyzed data, this objective wants to accentuate the part of the language that has the powerful significance to overcome the stuttering.

The third objective is that the Seven Building Tasks of Language is used to assess the language use. It represents the way the language has contribution by revealing the use of it. The Systemic Functional Grammar also contributes the discussion by having the clause as representative, message and exchange. Those two theories are used to be the empirical data and therefore they are used to relate how the

Analyzing the discourse analysis gives an advantage on how to reveal the language use. The language use is revealed to accentuate the power. The power means how the language has a control to overcome somebody‟s disorder. The disorder is the speech disorder or stuttering. By using Seven Building Tasks of

Language and Systemic Functional Grammar, the research achieves the empirical study to be able to figure out the structure of language that is significant in overcoming the king‟s stuttering through the interaction between the therapist and the king. Standard treatment is useful to validate the work of language in order to overcome the stuttering.

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1.4 Research Benefits

Relating to the research question that the writer presents, there is one

research benefit. It relates to the effective result of the therapist healing the king‟s

stuttering problem. The writer gains the knowledge how to deal with the same

case since the movie is based on the true story relating to psychological approach

and discourse analysis.

Theoretically, discourse analysis gives the knowledge of what goes

beyond the text. It means that language especially the spoken language that is

spoken casually in the movie is the language that contains a lot of meaning. The

meaning can be explicit. It is when the meaning can easily be caught. It is

implicit meaning when catching the meaning; it has to be analyzed through the

context. Discourse analysis offers the help with particular approach. The

approaches that are used in this research help to reveal the implicit meaning.

Seven Building Tasks of Language uses social language which is informal

language to emphasize the casualty. It uses conversation in order to focus on the

form of the text. It uses discourses to focus on the social context which is

between the therapist as the ordinary person and the king as the member of royal

family. Lastly, it also uses the intertextuality to find out other references outside

the text.

The benefit using Systemic Functional Grammar is that the researcher can

gain the knowledge linguistically through the process of ideational, interpersonal

and textual. Through ideational process, it shows the significance that is revealed

through the process of doing-and-happening, process of sensing and process of

being and having. They represent the process of the therapist‟s approaching

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method and the king‟s process of accepting the treatment. Interpersonal function is analyzed through the combination of Mood system and tone. They represent the mood of the therapist and especially the king through the process of the interaction using the declarative, imperative and interrogative mood. The textual function emphasizes the use of marked and unmarked theme selection. The characters use those theme selections to emphasize the intention whether to object or to agree with each other.

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CHAPTER II

LITERATURE REVIEW

This chapter presents theories related to the research. The theories are taken from books, journals and websites about discourse analysis including seven building tasks of language and systemic functional grammar. Other supported theories are stuttering theory as psychological disorder and neurology to find the comparison in the standard treatment.

2.1 Discourse Analysis

The theory of discourse that is used in this research is the discourse analysis as a part of language use.

Language is not mere matter of means of communication, but it also shows the identity of the speakers. It is described through the way the social group talks (the street gang talks or the way the doctor talks), cultures (Native American talks or African – American talks), or institution (universities talk or government talks) differ to each other. They have different style of language. Therefore, in this case, language shows the speaker‟s identity (Gee, 2011). Gee emphasizes that language cannot only be used as only for communicating and knowing each other‟s intention, but also the identity of the speaker. When using certain type of language, the speaker actually shows his/her identity. In addition, the speaker also can change the way of speaking in a certain style of language. The examples of the style of language are given by Gee in the way the social group talks, cultural talks and institutional talks.

Furthermore, the speaker can change the way he/she speaks to adjust with the environment he/she is engaged with.

A discourse is a characteristic way of saying, doing, and being. When you speak or write anything, you use the resources of English to project yourself as a certain kind of person, a different kind in different

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circumstances. You also project yourself as engaged in a certain practice or activity (Gee, 2011). That is the way the discourse works. One person can share different styles of language depending on the circumstances that the person has. Indeed, it is important to adjust the style for being in one style of language; one person can be so outrageous when delivering his/her language to another style of language.

Gee also states that “Language not only defines the information. Through the words or chunk of language, it can be used as the rule to practice what is written or spoken through language” (Gee, 2011). Therefore, the language that is used can be in written and spoken form.

The other theories support the previous theory above. Discourse that is in the form of written and spoken is structured as different patterns.

In many cases, underlying the word „discourse‟ is the general idea that language is structured according to different patterns that people‟s utterances follow when they take part in different domains of social life (Jorgensen and Phillips, 2002). The term “pattern” means the style of language. The domains of social life represent the different context when the style of language is used. It depends on the circumstances that the language is used in different context.

In a linguistic perspective, “discourse examines how humans use language to communicate and, in particular, how addressers construct linguistic messages for addresses and how addressees work on linguistic messages in order to interpret them” (Brown & Yule, 1983).

Based on the previous explanation, language is used in many perspectives.

It is called discourse analysis. It is about studying and analyzing the uses of language. In discourse analysis, language can be analyzed through the transcripts from interview, lyric, or movie, focus group, samples of conversation, published

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literature, media and web based material. In other words, “discourse analysis studies how large chunks of language beyond the sentence level are organized, how the social transaction imposes a framework on discourse” (Cutting, 2002). It has traditionally covered the topics of exchange structure. Or, it is how certain situations have fixed sequences in the overall framework of the exchange. The last is that conversation structure on how what one speaker says can influence the next speaker‟s response.

2.1.1 Written Text

The object to analyze the discourse analysis is definitely the text. The text, in general, is “to refer to the verbal record of a communication act” (Brown &

Yule, 1983). The text used is the text that is spoken or written. The written text is

“the printed record that is familiar in the study of literature” (Brown & Yule,

1983).

In the written text, the speaking part should be clear in order to understand the tone and intonation. “It is necessary to replicate punctuation conventions, as well as the lineation, in which indicates the change of speaker” (Brown & Yule,

1983). Therefore, the written text should also show the technic in speaking so that the readers are able to know the dynamic in speaking.

2.1.2 Implicature

Discourse analysis relates the study with the pragmatic study. Brown and

Yule state that “such an approach brings into consideration a number of issues which do not generally receive much attention in the formal linguist‟s description of sentential syntax and semantics” (Brown and Yule, 1983). Implicature, then, becomes the means to interpret the meaning of the utterances in the written form.

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Implicature becomes the proper choice for the discourse analyst to start with the text to be analyzed.

As a brief account of how the term „implicature‟ is used in discourse analysis, we have summarized the important points in Grice‟s proposal. We would like to emphasis the fact that the implicatures are pragmatic aspects of meaning and have certain identifiable characteristics. They are partially derived from the conventional or literal meaning of an utterance, produced in a specific context which is shared by the speaker and the hearer of the Cooperative Principle and its maxims (Brown and Yule, 1983). An analyst should consider two things in analyzing the implicature in the text.

They are the conventional and literal meaning of an utterance and the specific context which is shared by the speaker and the hearer of the Cooperative

Principle and its maxim. The language use is accentuated in considering the specific context. Moreover the maxims are used to fence the analysis.

2.2 Seven Building Tasks of Language Use

The seven building tasks of language use are introduced by James Paul

Gee in 2011. Those Seven Building Tasks of Language are used to answer the questions relating to the discourse analysis. The „task‟ shows the action to build the language to be used to reveal the seven areas that are important in conveying the hidden meaning. The explanation of each thing is on below ones.

2.2.1 Significance

There are things in life that are, “by nearly everyone‟s standards, significant (for example the birth or death of a child). But for many things, we need to use language to give them significant or to lessen their significance, to signal to others how we view their significance” (Gee, 2011). This significance gives the impression to be brought into a detailed analysis.

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The significant of such a sentence that might be the focus of the analysis can be used. Then, it becomes the standard of the rest of the analysis using this significance. However, the significance is not only in the form of a sentence but also in situation.

2.2.2 Activities

Once the significance has been confirmed, the next is finding the activities that show the significance. The focus is only the activities that acquire the significance. The explanation is like to explain the „chicken or egg‟ question that is near to the explanation of significance and activities.

When people think about practices, people confront a significant “chicken and egg” sort of question. “What people say, do, and are in using language enacts practices. At the same time, what people say, do, and are would have no meaning unless these practices already existed. The answer to this chicken and egg question is this: Language and practices “boot strap” each other into existence in a reciprocal process through time.” (Gee, 2011).

2.2.3 Identities

People use language to get recognized as taking on a certain identity or role, that is, to build an identity here and now. “People often enact their identities by speaking or writing in such a way as to attribute a certain identity to others, an identity that people explicitly or implicitly compare or contrast to our own.

People build identities for others as a way to build ones for themselves” (Gee,

2011).

Identities have a significant role in finding the activities. Who and how show the significance on finding the identities. Characters and characteristics are

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the most valid way to find the identities. Through identities, the ones can show the power or even the opposite.

2.2.4 Relationships

“People use language to signal what sort of relationship they have, want to have, or are trying to have with their listener(s), reader(s), or other people, groups, or institutions about whom they are communicating. People use language to build social relationships” (Gee, 2011). It mostly shows the way people use the formal or informality in using language.

The formality is shown in the way people with certain identities address each other. They can use polite address for the people of higher level of degree or status. Otherwise, the people who have the close relationship might address the others with less formal circumstances.

2.2.5 Politics

People use language to convey a perspective on the nature of the distribution of social goods, that is, to build a perspective on social goods. “Social goods are potentially at stake any time we speak or write so as to state or imply that something or someone is “adequate,” “normal,” “good,” or “acceptable” (or the opposite) in some fashion important to some group in society or society as a whole” (Gee, 2011). In other words, through this politic aspect, people can see the hidden values that the language wants to reveal.

The distribution of social goods emphasizes the aspect of sharing the information. It shows what kind of information people want to share. It is negative or positive one. Then, if it is negative, people with certain purpose might share it with positive tone. It can be vice versa.

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2.2.6 Connections

People use language to give certain things connected or relevant (or not) to other things, that is, to build connections or relevance. Things are not always inherently connected or relevant to each other. Often, “people have to make such connections. Even when things seem inherently connected or relevant to each other, people can use language to break or mitigate such connections” (Gee,

2011).

Connection shows the importance of language being used in certain purpose. The purpose can be different to each person but the person to whom someone wants to connect has to be the same and has the significance purpose.

The communication connects successfully when the people share the same connection in what they communicate about.

2.2.7 Sign System and Knowledge

“People can use language to make certain sign systems and certain forms of knowledge and belief relevant or privileged, or not, in given situations. It is to build privilege or prestige for one sign system or way of knowing over another”

(Gee, 2011). It is the same to reveal identity but in more detail to show sign and system in it. Moreover, Gee suggests preceding the analysis with the help of

Halliday‟s theory in Systemic Functional Grammar.

In The King‟s Speech, all of the seven building tasks of language can be used in order to reveal the hidden message of language use. That language use is what the therapist implicitly uses to heal the king‟s stuttering. The power of language can cure such a great disorder.

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2.3 Systemic Functional Grammar

“The systemic functional grammar aims to describe and explain the meaning-making resources of modern English. It includes on deciding what parts of the grammar to cover” (Halliday, 2004). Therefore it can be analyzed and interpreted through text.

The interpersonal, the ideational and the textual function are known as the metafunctions (semantic functions). It is said “how each metafunction is realized through choices from major systems at the lexicogrammatical stratum. The indication is shown in the experiential metafunction that is described in

Transitivity choices, the Interpersonal metafunction in mood choices and the

Textual metafunction through Theme choices” (Eggins, 2004).

2.3.1 Ideational Function (Transitivity)

This function has several advantages in unraveling the meaning of language that is being used. By using ideational function, the language can be analyzed through the symbolic code, cultural experience and even the individual experience based on the consciousness.

Ideational function is the same as the transitivity process because ideational is the clause as representation, thus transitivity structures express representational meaning; what the clause is about, which is typically some process, with associated participants and circumstances (Halliday, 2004).

A transitivity analysis is used to analyze the ideational function of

Systemic Functional Grammar. The advantage using this process is that it enables the clause to be analyzed through its constituent of metafunction. Verbal group is

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used to unravel the meaning in the clause since English has six types of process namely material, mental, verbal, relational, behavioral, and existential.

Material clauses are clauses of doing and happening, therefore a material process tries to understand the unit of change in the flow of events as taking place through some input of energy. Mental clauses are concerned with the experience of the world based on the consciousness. This process wants to sense the flowing from a person‟s consciousness but not to sense the material act. Relational clauses are meant to characterize and to identify the use of clauses. It is the process of being and having. Behavioural clauses are the process of physiological and psychological behavior like breathing, coughing, smiling, dreaming and staring. They are partly like the material and partly like mental.

Verbal clauses contribute to the creation of narrative by making it possible to set up dialogue. It is often used to develop accounts of dialogue on the model passage. The last process is existential clauses which represent that something exists or happens. (Halliday, 2004).

2.3.2 Interpersonal Function

Interpersonal function analyzes the relationship with the addressee.

Therefore, it uses the language to express social and personal relation. It also analyzes the interaction between the speaker and the addressee. The tools that can be used to analyze the interpersonal analysis are Mood as system, Mood and

Tone and Modality.

Mood is composed by Subject and Finite that are linked together. Then, the remainder of the clause is called Residue that has been labeled as

„Proposition‟. Mood as a system shows the form in declarative that is the

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characteristic expression of a statement, interrogative that is a question, exclamative and imperative (Halliday, 2004).

Mood and Tone have significant role in finding the relational process in discourse analysis. The consideration is on the choice of the tone, the melodic contour of the tone group: whether the pitch is falling or rising, or neither, or some combination of the two. Falling and rising become the fundamental opposition in which falling tone means certainty, rising tone means the opposite.

Table 1.2.3.1 Tone and Pitch Movement

Tone Symbol Pitch Movement

Simple Tone 1 Falling

Tone 2 Rising

Tone 3 Level (actually

showing a low rise

in pitch

Tone 4 Falling-rising

Tone 5 Rising-falling

(Halliday, 2004)

The indication uses the speech function of proposition. Declarative clauses combine with tone 1 that represents the feature of certainty, and sometimes in tone 4 showing some kind of reservation. The interrogative yes/no is shown in tone 2, the uncertain rising tone, while wh- question shows the tone 1 that is certain way asking for a missing element. Imperative clause that functions as commands is in tone 1, but negative command often comes with tone 3. This is

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the same like offering that is in tone 3. Last is exclamative that is in tone 5 something that is contrary to expectation (Halliday, 2004).

2.3.3 Textual Function

The textual and interpersonal functions are in the part of clause as message that is promoted by systemic functional grammar. The clause tries to understand an expression of human experience: processes, participants, and circumstances.

Themes contain one and only one of these elements which is called Topical

Theme.

The rest is the example of multiple themes with several elements in a sentence such “Well but then surely Jean wouldn‟t the best idea be to join in”

(Halliday, 2004). The analysis of the sentence can be interpreted through Topical

Theme. “Well” is textual and continuative that signals a move in discourse or a transition in the same speaker‟s turn. “But” is textual, conjunction Links or subordinates two clauses. “Then” is textual and conjunctive Adjunct that is part of Adverbial or Prepositional groups that relate the clause to previous text.

“Surely” is interpersonal, modal comment Adjunct. It is the expressions of the speaker‟s judgment on the content of the message. “Jean” is interpersonal, vocative. It is typically personal names used to address. “Wouldn‟t” is interpersonal, Finite verbal operator. It is part of auxiliary verbs that tries to understand tense and modality; also typical unmarked Themes of yes/no interrogatives.

If the speakers want to establish the clause in a setting (textual function) or explain his attitude to it (interpersonal), such expressions are the natural way to set up the expression: “Let me tell you how this fits in” or “Let me tell you what I

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think about this”. The variations in word order inside clauses can be accounted for some reasons. It is known that initial position in the English clause is meaningful since it has a Thematic function. Certain textual element orients the clause logically that means they are inherently thematic. Other textual and interpersonal elements are used to relate semantically the clause with preceding text or to express the speaker‟s angle. It also means they are characteristically thematic. The last characteristic of thematic category is, of course, wh-elements.

2.4 Stuttering as Psychological Disorder

“Stuttering is disorder of the flow of speaking with the high frequency of repetition or longing for voice, syllables or words that happens to the people who have difficulty to start even a word” (Bogue, 2009).

When the stuttering happens, it can be followed by a feeling of suffocating, heavy breath (Shell, 2005), fast blinking, vibration on the lips and jaw, or struggling on face or upper body as an effort to speak. In a particular situation, like talking to a group of people or superior people, the stutterers tend to worsen the stuttering (Mahr & Torosian, 1991). However, in a certain situation like singing or speaking by themselves, it is able to improve the fluency in speaking (Parker & Parker, 2002).

If people with stuttering can easily sing and speak alone fluently, it means that they do not have organic malfunction or organic inherent. If the activity of fluent singing and speaking alone can be proved, the disorder is part of mental not physical disorder (Bogue, 2009).

Guitar (2006) states that age of 3 is the stage of speech development for children with the addition of the language. Another development can give stress

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for children as the earlier symptom of stuttering. On the age of 6 to 8, children who receive many critics from their environment create the worse stuttering

(Guitar, 2006). According to Bogue, critics from the environment are for example high frequency of critics from own parents (Bogue, 2009). On the teenager stage, the feeling of frustration or embarrassing moment that has relation with stuttering can create the negative feeling and behavior (Guitar, 2006).

The comparison of people with stuttering is 4:1 for male and female

(Broen & Coleman, 1973) that has the relation with the childhood trauma (Bogue,

2009). This is caused by three main things. First, during the childhood, they have different congenital born in the ability in language and speaking. Second, parents, family members and others react differently toward the male children than female ones. Last, male has possibility to have stuttering than the female as basically male has different reaction to others (Conture & Guitar, 2007).

The research says that the arising of the stutterer disorder is from a deep- seated dysphemia, from emotional conflict in which the hesitant speech reflects an underlying anxiety, and from environmental factors which tend to interfere with the child‟s mastery of the fluency aspect of speech learning (Riper, 1963).

Based on the explanation, the stuttering that is being discussed in this study is the stuttering that is part of the psychological disorder. The psychological disorder shows the trauma of the previous stage of life.

The focus on this study shows that the king suffers from the stuttering because of the traumatic during his childhood. He has got suppression during the childhood that he is forced to be right-handed though originally he is left-handed.

Furthermore, he is also forced to straight his legs while he has disorder in

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walking straightly. Therefore, Riper says that besides shock, fright and illness, the stuttering may be depicted by many kinds of symbolic and cumulative factors

(Riper, 1963). Symbol shows the emotional causes that the stuttering focuses in situations that symbolize the conflict.

The other reason why someone can have stuttering is because of depression. Depression has also been considered a possible process that may occur with stuttering (Gayle & Back, 2013). Depression is characterized by five or more symptoms that are not similar to one‟s previous functioning during a two week period. The examples are like depressed mood, loss of interest or pleasure, insomnia and loss of energy.

Anxiety has been the common characteristic for speakers who stutter. It has been analyzed by the researchers for many years (Gayle & Back, 2013). The stutterers usually feel worry about the thing that is not supposed to be worried.

They tend to be angry easily over the simple thing.

Two journals have research about the relation among communication, anxiety, and depression between the people who stutter and the people who does not stutter. The research finds that people who stutter have anxiety that tend to be negative (Miller & Watson, 1992). Moreover, another research says that through the stuttering in the social anxiety, it is found that people who stutter have over anxiety and negative judgment to the social interactive (Menzies, Onslowa, &

Messenger, 2004).

In the study of psycholinguistics, the stuttering is a part of language disorder (Field, 2003). Words may be stressed erratically of left incomplete as a result of the general hesitancy of speech that leads to irregularities of rhythm and

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intonation. Since the sufferers are aware of this condition, they may paraphrase or use general terms to avoid words that they anticipate will be difficult. The stutterers feel anxiety in the way they overestimate the severity of their symptoms. They also feel as bad listeners because they feel that they have to focus on their own production (Field, 2003).

The journal published by British Medical Journal states that the stuttering happens as the psychological condition. It usually happens because of the fear of one or other parent who is usually the father. The other cases are the feeling of inferiority (British Medical Journal: 1965). The childhood trauma happens in this psychological aspect. An adult must have stuttering when he or she has tendency to have oppression in his or her childhood.

In order to overcome the stuttering disorder, the clinicians try the best method. Unfortunately, there are many debates in determining the best method overcoming the stuttering. There are many disagreements among the clinicians and the researchers in finding the best method to be able to get the outcomes of the treatment. Examples include the appropriate means for collecting treatment outcomes data, the nature of the data that are collected, the value of existing data in the published literature, the role of the clinician and client in providing treatment outcomes data, and, ultimately, the interpretation of those data (Howell,

2005). Therefore, this study offers the combination of method in possibility effective to overcome the stuttering.

In fact, the stutterers have the right to choose the effective treatment to be able to overcome their disorder. They have to feel comfortable with the methods offered by the therapists or in other word, clinicians. The feeling of comfortable

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has significant role in achieving the progress of the medication. Moreover, the motivation to overcome their stuttering is also varied. Whatever the reasons for their overcoming from the disorder, there are research studies designed to systematically survey people who stutter regarding the goals they have for speech therapy, their desired outcomes from treatment, and which approaches to treatment they prefer (Howell, 2005).

People who stutter have negative thought that their surrounding will mock them. That thought makes them afraid to their surroundings where people who stutter associate the talking experience as a bad experience which is anxiety. As a consequence, people who stutter will be stiff, afraid to go outside and afraid to read (Blood, Susman, Simpson, & Blood, 1994).

To sum up with, stuttering happens because of talking to a group of people or superior ones because the stutterer feels afraid that he might be disappointed. It is also known that male stutterer has dominant number than female mostly because childhood trauma pointing that male has to be more superior to female. This kind of stuttering is part of psychological disorder that has the symptom such as depression, anxiety and feeling inferiority. These symptoms are as the result from the parent oppression especially the father.

Fortunately, there is a kind of stuttering that can be cured as long as the stutterer still sings and speaks alone fluently.

Stuttering does not only happen psychologically which means that the stutterer feels oppressed based on the childhood trauma. The stuttering disorder can also be explained through the neurology aspect. Since this study deals with

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the linguistic aspect, therefore neurolinguistics is needed to be able to analyze what happens to the human brain in people with stuttering.

2.4.1 The Treatment for Stutterers

The stutterers are not easy to deal with particular method or even the background of the reason may be varied. There are several approaches in overcoming the stuttering based on the need of the patient. This study offers three different treatments in order to overcome the stuttering.

2.4.3.1 Valsalva Mechanism

The first treatment is the result of the personal experience of a licensed

Speech-Language Pathologist, William D. Parry, who had experienced stuttering when he was 4 years old. He conducts the treatment by himself using the method called Valsalva mechanism. “Valsalva mechanism is a neurologically coordinated term of muscles throughout the body which act together in the performance of a valsalva maneuver” (Parry, 2011). The purpose of Valsalva maneuver is to increase air pressure in the lungs, in order to help a person exert physical effort or force things out of the body.

The work of the valsalva maneuver is explained through the several mechanism.

The abdominal muscles are expected to be tightening up, squeezing the intestines and organs in the abdominal cavity. It is done so that they press upward against the diaphragm which is the dome-shaped muscles separating the abdominal cavity from the chest cavity. It causes the diaphragm to enlarge upward, compressing the chest cavity. Moreover, certain chest muscles also tighten to bring the rib cage down, which compresses the chest cavity even more (Parry, 2011).

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Diagram 1.2.4.3.1 A Valsalva Maneuver (Parry, 2011)

Until a particular moment, the larynx is neurologically programmed to close tightly around the upper airway to keep the air in the lungs from escaping.

When the abdominal muscles squeeze more, the air pressure becomes great in the lungs from escaping. This activity makes the larynx close tighter. This is called

“effort closure” (Parry, 2011).

It is globally known that the function of larynx is to form the phonation.

However when it is conducted valsava maneuver, the mechanism is different with what happen to the phonation process. “The entire inside of the larynx closes tightly, like a fist, to block the air completely. If for some reason your lips or tongue are blocking the airway when you start a Valsalva maneuver, they will be recruited to continue the closure. They will automatically press harder and harder to keep the air from escaping” (Parry, 2011).

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Relating to the stuttering, valsalva mechanism tries to trick the neuron about the focus activity that the person might have repeatedly.

It is like the game of „pointing to the finger‟ and „making a fist‟. When a person is trained to point to the finger repeatedly and then the trainer suddenly commands to make a fist, then the result is that the person might have possibility to point the finger. It is because the brain receives the same command in a row and it cannot be ready to receive another sudden command. The trick is part of the neurology case (Parry, 2011).

It also happens when overcoming the stuttering. The person who stutters need a distraction neurologically therefore they will not focus too much on what will they say.

2.4.3.2 The Van Riperian Method

Most of the speech therapists do the same following mechanism such as timing mechanism, both manual and automatic devices, and breathing and relaxation techniques are once again being introduced to the stutterers who seek for help. However, in the implication, it always depends on the therapist own method to approach the patient. Therefore, the author of this method believes that

“the following factors such as speech pathologists, those gadgets, tricks, or other distractions devices are not the most advantageous methods that is available to stutterers” (Helliesen, 2008).

The Van Riperian method is a “take control and self-responsibility” method that is for controlling one‟s own speech and destiny. To control the stuttering, certain techniques are taught to the stutterers. In this way, it allows them to be the effective communicator, therefore, decreasing the negative emotions and symptomatology that are associated with stutterers. Being an effective communicator, someone must provide the verbal communication with little distraction that is caused by the stutterer‟s speech (Helliesen, 2008). Being knowledgeable and one whom the stutterers can trust and respect as partner in the therapy are the goals that therapist should do to guide the stutterers

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out of the “swamp of despair” (Helliesen, 2008). Providing motivation is also part of therapist role to the stutterer by reinforcing those moments of triumph and helping the stutterers analyze speech therapy failures and turn them into success.

The therapists must know the basic symptom from the stutterers. They have to identify the stutterers‟ characteristics that are mostly negative emotion such as penalty, frustration, anxiety, guilt and hostility. This step is believed to help to maintain the stuttering because those symptoms should be reduced during the therapy. “Desencitization therapy occurs continually as therapy proceeds, and it allows the stutterers to look more objectively at this speech as they progresses through the various step” (Helliesen, 2008).

2.5 Related studies

Related studies are needed to compare the research with the other existed research that have the same topic and/or object. While functioning as the comparison, the studies also function to prove that the research has the own interest that differs from the previous researches. Therefore, there are two related studies; a journal and a thesis that are used as the related studies in this research.

The other researches relating to the movie The King‟s Speech have existed. Journal titled Style and Language of Inequality in the Movie, The King‟s

Speech that is written by Saima Karim is quite different with the previous one. It analyzes the power of language in the movie King‟s Speech. It turns out that the relationship between language and social inequality is the idea that some expressions of language are valued more than others in a way that is associated with some people being more valued than others and some ideas expressed by people through language being more valued than others (Karim, 2015).

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The second study is from Riha Rahma Mufida in her thesis titled The

Discourse of The King‟s Speech Film by Tom Hooper. This research uses

Cultural Studies as the approach to the discourse analysis. It uses the qualitative data analysis and data analysis techniques descriptively and interpretatively.

Other than using Cultural Studies approach, it uses the hermeneutic approach

(Mufida, 2015).

2.6 Theoretical framework

Theoretical framework reveals the significant of the theories. The theories are presented in chapter II. They are useful to be the basic knowledge to support the analysis.

The first research question is the discourse presented through the interaction between the therapist and the king. The script is the main object of the analysis. Theory of discourse analysis is used to explain the foundation of the research. Therefore, the type of discourse is presented. This research has written textual discourse meaning that the object is in the product of written text. The written text is used because the object is in the form of movie script though inside the script there is a spoken form. The pragmatic theory is adopted to get the basic knowledge about implicature.

The structure of language is analyzed through the Seven Building Tasks of Language (SBTL) and Systemic Functional Grammar (SFG). SBTL explains the tasks of the language use by the significance, activities, identities, relationships, politics, connections and sign system and knowledge. Meanwhile, the structure of language is seen through its clause. Thus SFG offers the analysis through its ideational, interpersonal and textual function.

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The second research question shows the process on how the power of language works in order to overcome the stuttering. This part combines the theory of SBTL and SFG. The supported theories are the theory of stuttering as a psychological disorder and theory of the standard treatment. The latter is used to validate the treatment executed by the therapist.

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CHAPTER III

RESEARCH METHODOLOGY

3.1 Research Type

This research is Discourse Analysis since it deals with several considerations. The consideration concerns in analyzing the language use applied by the therapist and the king. It shows the language use and how it is significant in the treatment activity.

The first consideration is to reveal the significant language that is used.

Therefore, it can gain significant result such as overcoming the stuttering.

Language is not only a matter of speaking but also the other elements that support the communication goals such as gesture in body language. Thus, language is considered to be able to reveal the significant in healing treatment activity.

The second consideration is to be able to acquire the other supported element in the study of Discourse Analysis. Systemic functional grammar and seven building tasks of language are part of the elements that support the analysis. They are indeed useful in analyzing the Discourse Analysis in the movie.

3.2 Research Object

Since the focus of the research is the use of language, the movie titled The

King‟s Speech is used to gather the data. The use of language in this movie is significant to the healing process of stuttering used by the therapist. The movie titled The King Speech filmed on 2010 is directed by Tom Hooper staring Colin

Firth as King George VI and Geoffrey Rush as Lionel Logue, the therapist.

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The year was 1939 in England when peoples require a king who was firmness, clarity and resolve. They did not need a king who stammered punctuated with tortured silences (Ebert, 2010). The truth is Albert as the king

George VI is not supposed to be a king since he has older brother named Edward.

However, Edward wants to marry a commoner widow that it is crossed the constitution rule. It is decided that Albert will be the next king, King George VI.

Considering his new task, Albert as the king tries his best to be proper in speaking in front of his people.

His struggle finds a good therapist coming to an end when he meets

Lionel Logue. Through this movie, there is a lot of conversation as a part of therapy that is significant to the overcoming of stuttering. During the therapy session, the language that is used by Lionel Logue is very significant to the healing process of the king‟s stuttering.

This movie has many good reviews and recognition. The multiple nominations that this film receives take forever to read so here are the awards the film won. The King‟s Speech received 12 Oscar nominations, more than any other film in that year. At the 83rd Academy Awards, The King‟s Speech has won 4

Academy awards for Best Picture, Best Director (Tom Hooper), Best Actor

(Colin Firth), and Best Original Screenplay (Seidler). Besides the four categories it has won, the film has received a total of 12 nominations at the 2011 Oscars

(Filmmakers, 2015).

3.3 Research Data

The printed script of this movie consists of 90 pages. Thorough it, the conversation between the king and the therapist happens in the most frequency

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and in the random scenes. Moreover, not the entire scene contributes the significant thing to be analyzed in this study.

The collection of the data is limited to the selection of conversation conducted by the king and the therapist. It has significant role in the development of the study and its connection to the related theories. How the language that is used by the therapist help overcoming the king‟s stuttering is becoming the object of this study.

The first cycle is chosen to collect the data. The data are the conversation and interaction between the king and the therapist. Therefore, the entire conversation and interaction are used and analyzed. It is because the conversation and interaction as the data are significant to the entire study in order to prove the significance of language use used by the therapist to overcome the king‟s stuttering.

3.4 Data analysis

The process of collecting data started with the interest in analyzing the method overcoming the stuttering as it related to the use of language.

Furthermore, it was about the disorder in language practice, in this case speaking.

To be able to discuss the study thoroughly, the study took an interest of movie titled The King‟s Speech directed by Tom Hooper. This movie told about the king who had stuttering and the therapist who had succeeded in overcoming the king‟s stuttering especially with the power of language use.

This study was going to be a discourse analysis study. It focused on the language use and how the language use gave contribution to the particular field like in politics or identity background. Since the study started with discourse

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analysis, the writer had to find supported theory to be used to analyze the language use in the movie. Theory of seven building blocks of language by James

Paul Gee and systemic functional grammar by M.K Halliday were used as the main theories.

3.4.1 Seven Building Tasks of Language

Seven Building Tasks of Language consisted of seven elements that were important to reveal the message. Significance revealed the struggle to build the equality between the therapist and the king. It also showed the sentences that were effective to encourage the king to be confident. Activities showed the sharing and listening activity in order to be comfortable with the treatment. The mechanical treatments such as reading, singing, and swearing were part of the activities that were significant to overcome the king‟s stuttering. Identities revealed the characteristics of the therapist and the king during the interaction. It turned out that the therapist, in order to win the king‟s interest, had brave and patient characteristics. Meanwhile, the king had prideful and bad temper characteristics that were quite challenging for the therapist to conquer those characteristics. Relationships accentuated on two links. The first was the nicknames that were used during the interaction related to the equality that the therapist wants to build. The second is the relation of the text “to be or not to be..” that is read by the king with the purpose of the treatment using the sentence.

It was found out that the therapist used the text to check the symptom of the king‟s stuttering. By checking it, the therapist could conduct the proper treatment.

Politics that were expected to reveal the judgment of bad and good turn out to be good intention that the therapist wanted to bring. He offered friendship in the

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interaction to the king so that the king could be comfortable to share his bad experience relating to his stuttering. Connections dealt with mental and relational process as part of Systemic Functional Grammar. They revealed the sensing and thought of the main characters during the process of interaction. It stressed that the king who at first was a difficult character could compromise at the end of the treatment. The sign system and knowledge used material process to reveal the process of treatment. It showed how the therapist used the action verb to approach the king and how the king used action verb to respond the therapist intention.

The tools of inquiry is the means to verify the analysis in Seven Building

Tasks of language including the significance, activities, identities, relationships, connection, politics and sign system and knowledge. They are social language, conversation, discourses and intertextuality. They can be inferred through several questions (i) what social language(s) are involved? What sorts of grammatical patterns indicate this? Are different social languages mixed? How so? (ii) what socially situated identities and activities do these social languages enact? (iii) what discourse(s) are involved? How is “stuff” other language (“mind stuff” and emotional stuff” and “ world stuff” and “interactional stuff” and non-language symbol systems, etc) relevant in indicating socially situated identities and activities? (iv) in considering this language, what sorts of relationships among different Discourses are involved? How are different Discourses aligned or in contention here? (v) what Conversations (public debates over issues or themes) are relevant to understanding this language and to what Conversations does it contribute (institutionally, in society, or historically), if any? (vi) how does

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intertextuality work in the text, that is, in what ways the text quote, allude to, or otherwise borrow words from other oral or written sources? What function does this serve in the text?

3.4.2 Systemic Functional Grammar

Systemic Functional Grammar used Ideational, Interpersonal and Textual process to analyze the interaction between the therapist and the king. Ideational function consisted of several processes such as material, mental, relational, existential, verbal and behavioural process. However, the dominant processes acquired from the data were material, mental and relational process. They showed the significance that was revealed through the process of doing-and-happening, process of sensing and process of being and having. They represented the process of the therapist‟s approaching method and the king‟s process of accepting the treatment. Interpersonal function was analyzed through the combination of Mood system and tone. They represented the mood of the therapist and especially the king through the process of the interaction using the declarative, imperative and interrogative mood. The textual function emphasized the use of marked and unmarked theme selection. The characters used those theme selections to emphasize the intention whether to object or to agree with each other.

In the transitivity function, the material process is verified through the question what did/do/does the actor(s) do? that represents the „doing-and- happening‟. It can also be asked using what happened to the actor(s)?. The mental process is proved in the use of tenses compared with material process. In mental process, the progressive tense cannot be conducted since mental process includes the perception of the senser. Relational, then, explains the less effort of

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„being‟ than the use of material and mental process. It means that relational process concerns about „being‟ rather than „doing‟ (material) and „sensing‟

(mental).

Ideational and textual show the concept of Theme system, Mood system and Marked Theme selections. Theme is not always a nominal group, but it can be some other class of group or phrase that after all has some function in the experiential structure of the clause. Theme is simply asking what happened, meaning that I want to tell you that something happened. Theme also offers the declarative, exclamative, imperative and interrogative that is proved based on the use of punctuation such as full stop, question mark and exclamation. Marked thee selection is proved by (i) nominal group functioning as Subject, (ii) the finite operator of verbal group plus nominal group functioning as Subject, (iii) nominal group, adverbial group or prepositional phrase functioning as interrogative (wh-) element, (iv) verbal group functioning as predicator, plus preceding don‟t if negative, (v) let‟s plus preceding don‟t if negative, and (vi) nominal group or adverbial group functioning as exclamative (wh-) element.

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CHAPTER IV

RESULT AND DISCUSSION

This chapter shows the result of the data analysis that has been preceded.

The data are the twelve parts of interaction in the form of clause and chunk of language. This chapter is divided into two sections; Seven Building Tasks of

Language analysis and Systemic Functional Grammar analysis and the standard treatment which is used as the comparison of the recent treatment. The bold parts inside the analysis represent the emphasizing of each element. In addition, the tables which are tables of Textual function help to organize the data analysis into easy reading. Lines are also used in showing the Interpersonal function in order to get the systemic reading as well.

4.1 Discourse of the Script of the Interaction between the Therapist and the King

4.1.1 Seven Building Tasks of Language

This part shows the result of the data analysis. The tables and lines show the outcomes of the analysis. The first being discussed is the theory of Seven

Building Tasks of Language. The table shows the category of the seven building tasks. They are the significances, activities, identities, relationships, politics, connections and sign and system. The situation is put in order to get the general view of the building tasks. Therefore, using the table, the researcher wants to compose easy access to view the building tasks in general.

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Table 4.1 Table of Seven Building Tasks of Language

No. Seven Building Situation Tasks of Language 1 Significances 1. The significance of this text is the struggle to build an equal relationship through the interaction. 2. The other significance is the chunk of conversation that has contribution to make the king confident in speaking. 2 Activities 1. Lionel listening patiently to every single story that Bertie tells 2. doing practical mechanism

3 Identities The identities show the characteristics of Lionel who are brave and patient and Bertie who are prideful and bad temper. 4 Relationships The use of nickname 5 Politics The political side in this part is that Lionel has a good intention toward Bertie. 6 Connection The connection the use of nicknames rather than the formal names relates to the demand of equality. 7 Sign system and The sign system and knowledge that happens in knowledge the interaction is supposed to be formal language that is seen from the social language between the commoner (the therapist) and the royal family (the king).

The table shows the result of the theory of Seven Building Tasks of

Language. The significances of the text are the struggle to build the equality and the contribution of language to make the king confident. The remaining is the elaboration of their significances. Because of the struggle of equality is part of the significance, thus the activities, identities and relationships are also achieving these two. Politics, connections and sign system and knowledge are in line with these two main significances.

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The conversation that is conducted in the script mostly is an informal form regarding to the social language that uses the informal language. Bertie, who is the member of the royal family, is considered to be respected by addressing him the proper name and serving him properly. However, following the treatment rules, he is treated as the others even less formal. Lionel‟s intention as the therapist is to show the sign of a friendship. Therefore, the implementation shows that the conversation between the two using informal language. It is shown through the scene when Bertie unexpectedly swearing in front of Lionel.

Fortunately, Lionel sees it as the method to make Bertie‟s speech fluent. The interaction between the therapist and the king is the main object of the research.

The script is the product of the discourse that is analyzed through Seven Building

Tasks of Language. Thus, the significance of the language use is unraveled through its significance, activities, identities, relationships, politics, connections and sign system.

4.1.1.1 Significance

The significance happens in the analysis through several ways. Social language has the important rule showing the use of the language. There are two ways showing the significance in the language use that is applied through the text.

First, it is the significance of talking as a friend that is the main idea of the process of the treatment. Implementing the social language that is the different style of languages used for different purposes (Gee, 2011), it sees that the style of language that is supposed to be used by Lionel is formal considering that he talks with the member of the royal family. However, Lionel wants to make his therapy

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session is less formal by bridging the line to be friend with Bertie. Lionel as the therapist tries to build the equal relationship with the king so that the king feels comfortable with his treatment. However it is not easy for Lionel to make the king close to him. Thus, the significance of this text is the struggle to build an equal relationship through the interaction.

[1] LIONEL: Perfect. In here, it’s better if we’re equals. (PART 1, LOGUE‟S CONSULTATION ROOM – DAY) Lionel Logue is an unorthodox speaking therapist. In the time of 1920s, he was well-known for his success treatment for people with stuttering. He is not certified as a doctor, however because of his experiences, he is permitted to cure the king‟s stuttering. The most important thing about his therapy is that the patient must feel comfortable by enjoying his rules. One of his rules is that he has to be equal with his patient even if the patient has the potential to be a king in the future – at the first meeting, Bertie is not yet a king but he is still the Duke of

York.

Applying his rules to be followed by the king is one of his ways to be professional in his field. By asking the king to follow his rules and agree with his mechanical treatment, Lionel tries to use his authority to rule the king but not the opposite. The equality is shown in the way Lionel tries to be professional doing his job.

Lionel Logue wants Bertie to call him as Lionel and in return, Lionel calls

Bertie as „Bertie‟. Bertie feels insulted with the call as he has the higher position than Lionel.

[2] LIONEL : How about Bertie? BERTIE : (flushes) Only my family uses that. LIONEL : Perfect. In here, it‟s better if we‟re equals.

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BERTIE : If we were equal I wouldn‟t be here. I‟d be at home with my wife and no-one would give a damn. (PART 1, INT. LOGUE‟S CONSULTATION ROOM – DAY)

However, Lionel Logue keeps insisting that he will call Albert as Bertie no matter what. Albert at first also insists that he will not follow Lionel‟s rule. In the process of the treatment, Bertie has finally followed Lionel‟s rule. He seems okay to be called as Bertie by Lionel though he barely calls his therapist a name.

The social language that is used in this script is supposed to be formal language between the ordinary citizen and the royal family member. However, this movie wants to show the equality as a friend, even close friend between people without considering the title. As a result, the social language that is used is an informal language. It is used to show the equality in the field of professionalism.

Second, the significance can also be seen in the mechanism in overcoming the king‟s stuttering. Conversation as part of tools of inquiry in the form of debates and motifs in the social group (Gee, 2011) that happens between Lionel and Bertie provokes Bertie to speak his own voice. He is triggered to debate with

Lionel but at the end he does what Lionel asks him to do. Thus, the other significance is the chunk of conversation that has contribution to make the king confident in speaking. The conversation like

[3] BERTIE : I‟m not crooning “Swanee River!” LIONEL : Try “Camptown Races” then. (sings) “My brother D, he said to me, doodah doo-dah...” Continuous sound will give you flow. Does it feel strange, now that David‟s on the throne? (PART 4, LOGUE‟S CONSULTATION ROOM – CONTINUOUS)

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is the conversation of encouraging Bertie to sing to avoid his stammering. Lionel asks Bertie to sing when he wants to share something. Lionel thinks that it will give the flow in his throat so that he can speak more clearly. It happens. Bertie can share fluently what he wants to talk about in his singing.

Though it seems provoking Bertie in an emotional way, Lionel has an effective way to build Bertie‟s confidence. Later on Bertie has been in progress.

[4] LIONEL : I don‟t care. I don‟t care how many Royal arses have sat in this chair- (Overlapping-) BERTIE : Listen to me... ! LIONEL : Listen to you?! By what right? BERTIE : Divine right, if you must! I‟m your King!!! LIONEL : Noooo you‟re not! Told me so yourself. Said you didn‟t want it. So why should I waste my time listening to you? BERTIE : Because I have a right to be heard! LIONEL : Heard as what?! BERTIE : A man! I HAVE A VOICE!!! LIONEL : (quietly) Yes you do. You have such perseverance, Bertie, you‟re the bravest man I know. And you‟ll make a bloody good king. (part 13, INT. WESTMINSTER ABBEY - THAT NIGHT)

The situation above is when Bertie has a rehearsal to do the inauguration of him as a king at Webminster Abbey. They practice the text for Bertie‟s inauguration to be a king. Lionel purposely sits on the chair that is supposed to be sat by the king. Bertie is angry and asks Lionel to get off of the chair while Lionel challenges Bertie on what right. Furiously, Bertie says that he has the voice as a king and somebody has to listen to him. From the way Bertie is angry and is triggered to finally say that he has a voice, Lionel has succeeded to make Bertie realize his power.

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Thus, showing the equality and building Bertie‟s confidence are the two things that are the significance of language use to overcome the king‟s stuttering.

The application of the significance is synergized into the other six building tasks of language.

4.1.1.2 Activities

Activities show the implication of the significance of the language use.

Since the significance of language through the text is about the equality and building confidence in order to overcome the king‟s stuttering, therefore there are two activities that reflect the significance of language use.

The first activities that describe the significance of the text are that Lionel asks Bertie a chance to share his stories including his background about his stuttering. By using Discourses that is part of the ways of thinking, acting, interacting, valuing, feeling, and believing (Gee, 2011), Lionel listens patiently to every single story that Bertie tells. At first, Bertie does not share his problem. He wants the mechanic way to overcome his stuttering.

[5] LIONEL : Thus proving your impediment isn‟t a permanent part of you. What do you think was the cause? BERTIE : I don‟t know! I don‟t care! I stammer. And no one can fix it. (part 1, INT. LOGUE‟S CONSULTATION ROOM – DAY)

This situation is when Lionel asks Bertie about the background why he becomes stuttering. He asks Bertie whether he stutters when he thinks. Bertie‟s anger shows that he has a very bad temper. He can get easily angry when being asked to tell his experience. His concern is only the practical therapy. He does not want to be involved in the personal story, especially his own experience that might be unpleasant memory.

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However, Lionel never gives up inquisitively asking Bertie to tell about his family background. The main purpose is to dig the information about Bertie‟s stuttering background. Therefore the activity of sharing is conducted as a part of

Bertie‟s therapy.

[6] BERTIE : Nannies. Not my first nanny, though..she loved David...hated me. When I was presented to my parents for the daily viewing, she‟d... (The stammering produced by the memory halts him.) LIONEL : Sing it. BERTIE : (tunelessly) “She pinch me so I‟d cry, and be sent away at once, then she wouldn‟t feed me, far far away.” (speaks) Took three years for my parents to notice. As you can imagine, it caused some stomach problems. Still. (part 4, INT. LOGUE‟S CONSULTATION ROOM – CONTINUOUS)

Lionel continues to ask Bertie about the person that Bertie is close with.

However, Bertie tells Lionel the meaning of being close with his nanny is not the close mental relationship, rather the nanny monitors Bertie the whole day and gives Bertie significant trauma by always pinching him when being presented to his parents. So that the parents think that Bertie does not do any good deeds.

Though Bertie tells his bad experience in a stutter, Lionel keeps listening and encourages him to sing so that he can be fluent in telling his uncomfortable memory.

The second activities that show the significance of building the relationship to make the treatment effective is by doing practical mechanism.

During the treatment, Lionel does not only encourage Bertie to talk about his experience. He also conducts the practical treatment like asking Bertie to read some sentences while he is betting on him one shilling, to sing a favorite song to avoid the stuttering which is working, to practice the respiration activity, to say

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tongue twister repeatedly and to swear when feeling repressed. Those activities are effective in reducing the stuttering frequency.

Challenging Bertie to do something is not quite effective but at least

Bertie wants to try what Lionel asks him to do. Lionel bets on one shilling if

Bertie wants to do Lionel‟s offering. Bertie will give Lionel one shilling instead if he does not want to do Lionel‟s offering.

[7] BERTIE : I can‟t possibly read this. LIONEL : Then you owe me a shilling for not trying. (Furious, Bertie opens the book and reads, stammers badly and gets worse.) BERTIE : “To be or not to be, That is the question. Whether it is wiser...” There! (He hands the book back to Lionel.) BERTIE : I can‟t read! LIONEL : I haven‟t finished yet. (Lionel returns the book to Bertie and turns to some recording apparatus on a nearby table.) LIONEL : I‟m going to record your voice and then play it back to you on the same machine. This is brilliant. It‟s the latest thing from America: a Silvertone. (He hands Bertie a pair of heavily padded earphones. Bertie doesn‟t want to take them.) (part 1, INT. LOGUE‟S CONSULTATION ROOM – DAY) After failing in fulfilling Lionel‟s challenge to read some sentences while listening to the music, Bertie does not want to precede the therapy with Lionel anymore. He thinks that Lionel is just wasting his time to do such a trivial thing.

He needs something mechanic, though.

[8] LIONEL : Alright. You want mechanics? We need to relax your throat muscles and strengthen your tongue. By repeating tongue twisters for example. “I am a thistle-sifter. I have a sieve of sifted thistles and a sieve of unsifted thistles. Because I am a thistle sifter.” BERTIE : Fine. LIONEL :You have a flabby tummy, we must build up the strength in your diaphragm. Simple mechanics. (PART 2 INT. LOGUE‟S CONSULTATION ROOM NEW DAY)

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This mechanic is in purpose exercising the movement of the lips and the air flow that comes from the lungs. Therefore, Bertie has to exercise the tongue twister as a part of the treatment. Since tongue twister activates the brain‟s speech-planning processes, it helps Bertie to do the exercise warming up the fluency in speaking

(Bergland, 2013).

[9] MONTAGE (Many different sessions, many different days, all in the consultation room.) (CU of Bertie‟s mouth. Humming.) LIONEL : Hum for as long as you like. Hmmmmmmmmmm. And when you‟re ready, “Mother”. BERTIE : Hmmmmmmmmmmmmmother. LIONEL : Beaut. CUT TO: LIONEL : A simple outward breath. “FFFFF” Wait for the “aa”. “FFFFFather”. Just slide into it. BERTIE : FFFFFFFFFFFFather. CUT TO: LIONEL : Feel the loosening of the jaw (PART2 INT. LOGUE‟S CONSULTATION ROOM – NEW DAY)

The activity is to show the continuant of treatment in triggering the fluency in speaking. After having tongue twisters‟ exercise, Bertie continues to have the humming treatment when he has to hum the syllable into the longer syllable.

Another activity to minimize the stuttering is by singing and changing the lyric into the utterances that is to be said. This activity is effective to make the air flow from the vocal cord fluent. At first, Bertie refuses to do so but when it does work, Bertie continues singing when he feels that he faces the stuttering.

[10] (Silence.) BERTIE : (blurts) My brother. That‟s why I‟m here. LIONEL : What‟s he done? BERTIE : Can‟t say. I can‟t puh-puh-puh... (His jaw and throat muscles constrict.) LIONEL : Try singing it.

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BERTIE : Pardon? LIONEL : Know any songs? BERTIE : Songs? LIONEL : Yes songs. BERTIE : “Swanee River”. LIONEL : I love that song. BERTIE : Happens to be my favorite. LIONEL : Sing it then. Give me the chorus. BERTIE : No. Certainly not. (fascinated by the plane) Always wanted to build models. Father wouldn‟t allow it. He collected stamps. I had to collect stamps. LIONEL : You can finish that off. (Bertie eagerly reaches for some balsa.) LIONEL : If you sing. (to “Swanee River”) “When I was a boy with David...upon the Swanee River.” BERTIE : I can‟t sit here singing! LIONEL : You can with me. BERTIE : Because you‟re peculiar. LIONEL : I take that as a compliment. BERTIE : I‟m not crooning “Swanee River!” LIONEL : Try “Camptown Races” then. (sings) “My brother D, he said to me, doodah doo-dah...” Continuous sound will give you flow. Does it feel strange, now that David‟s on the throne? BERTIE : It was a relief... Knowing I wouldn‟t be King. (Reaches into his jacket for his cigarette case. Then remembers, puts it away.) LIONEL : But unless he produces an heir, you‟re next in line. And your daughter, Elizabeth, would then succeed you. BERTIE : “You‟re barking up the wrong tree now, Doctor, Doctor.” LIONEL : “Lionel, Lionel.” You didn‟t stammer. BERTIE : Of course I didn‟t stammer, I was singing! (realises) Oh... (part 3, INT. WAITING ROOM TO LOGUE‟S CHAMBERS – CONTINUOUS) The unique way to minimize stuttering is by swearing. It is proved that as the royal family, it does not mean that the person is not an ordinary people who have a right even to swear. But of course it is not in the public appearance. Bertie as the royal member has a habit to swear when he feels angry or depressed and it works when he tries to avoid his stuttering.

[11] LIONEL : Vulgar but fluent. You don‟t stammer when you swear. BERTIE : Bugger off!

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LIONEL : Is that the best you can do? BERTIE : Well bloody bugger to you, you beastly bastard. LIONEL : A public school prig can do better than that. BERTIE : Shit then. Shit, shit, shit! LIONEL : See how defecation flows trippingly from the tongue? (PART 6 INT. LOGUE‟S CONSULTATION ROOM, HARLEY STREET - NEW DAY)

4.1.1.3 Identities

The identities are showed in the way the characters reveal their characteristics. The strong characters are promoted between these two main characters. Bertie has tough personality while Lionel has even tougher personality. Discourse which shows identities through ways of thinking, acting, interacting, valuing, feeling, and believing and Conversation that shows the contribution of action in language (Gee, 2011) emphasize the finding. The identities show the characteristics of Lionel who are brave and patient and

Bertie who are prideful and bad temper.

Bertie as the main center of the character has the strong personality. He has two main characteristics that are significance in revealing the language use.

The first characteristic is that he is proud person. The second is that he is temperament person.

Bertie‟s characteristics are prideful. He is prideful as he is the son of the

King George V and he demands to be respected. He does not want to be called as

Bertie since only his family calls him Bertie. It hurts his pride when Lionel as a commoner calls him Bertie instead of The Royal Highness or Sir. He expresses his hurtful pride with anger.

[12] LIONEL : How about Bertie? BERTIE : (flushes) Only my family uses that. LIONEL : Perfect. In here, it‟s better if we‟re equals.

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BERTIE : If we were equal I wouldn‟t be here. I‟d be at home with my wife and no-one would give a damn. (Part 1, INT. LOGUE‟S CONSULTATION ROOM - DAY)

Bertie‟s identity is revealed through his bad temper. He is always angry every time Lionel asks him about the family matter. Bertie thinks that his family background does not have relation with the treatment that Lionel is going to do.

Actually, it is important since Lionel as the speech therapist has to find out the psychological side of Bertie‟s family background so that he can make diagnosis.

[13] LIONEL : What is it about David that stops you speaking? BERTIE : What the bloody hell is it that makes you bloody well want to go on about David? (part 6, INT. LOGUE‟S CONSULTATION ROOM, HARLEY STREET - NEW DAY)

Lionel, on the other hands, has the tough characteristic since he has to deal with extraordinary person like Bertie. Fortunately, he has the characteristics that are easy to defend Bertie‟s characteristics. Lionel has brave and patient characteristics.

His bravery is shown when he is not afraid or even nervous to deal with

Bertie as the Duke of York, one of the sons of the King George V. He applies his own rule that the patient should go to his room to do the treatment. He also wants the equal relation between the therapist and the patient. Treating the member of royal family, Lionel is advised to follow some rules; however he keeps on doing his own rule.

[14] LIONEL (CONT‟D) : I was told not not to sit too close. (Bertie remains silent.) LIONEL (CONT‟D) : I was also told, speaking with a Royal, one waits for the Royal to choose the topic. BERTIE : Waiting for me to commence a conversation one can wait a rather long wait.

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(part 1, INT. LOGUE‟S CONSULTATION ROOM – DAY)

This situation shows that Lionel does not really follow the rule that is given to him when treating Bertie. It is just a trigger from him to start a conversation with

Bertie. He wants to know the characteristic of his patient.

Lionel is a patient man. He has calm appearance and seems not easily influenced when the mood is getting high. It means that when Bertie shows his anger toward him, he barely shows his own emotion. He stays calm and understanding Bertie situation. He should keep himself calm to be able to control

Bertie‟s anger. He seems okay though Bertie keeps mocking at him.

[15] BERTIE : I can‟t sit here singing! LIONEL : You can with me. BERTIE : Because you‟re peculiar. LIONEL : I take that as a compliment. (part 4, INT. LOGUE‟S CONSULTATION ROOM – CONTINUOUS)

---

[16] LIONEL : Why do you stammer more with David than you do with me? BERTIE : Because you‟re bloody well paid to listen! (The latter, angry, sentence is flawless.) LIONEL : I‟m not a geisha girl. BERTIE : Stop trying to be so bloody clever! (part 6, INT. LOGUE‟S CONSULTATION ROOM, HARLEY STREET - NEW DAY) Lionel digs the information about Bertie‟s personal life by asking about David who is Bertie‟s older brother. Bertie is angry to be compared with David and he tries to mock Lionel by stating that he pays Lionel properly. Instead of getting angry, Lionel says that he is not a geisha girl associating himself as the girl in the prostitution which makes Bertie more resent.

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In conclusion, Lionel‟s characteristics that are brave and patient lead him to treat Bertie successfully. With his characteristics he can win over Bertie‟s heart. He applies them in a consistent way so that Bertie can understand the method of his treatment thoroughly.

4.1.1.4 Relationships

The use of nickname between Lionel and Bertie gives the treatment an atmosphere of friendship rather than therapist and patient relationship. It is proved that the language is used to show the relation between the speakers. The use of nickname becomes the mark of the friendship between Lionel and Bertie.

[17] BERTIE : I‟m willing to work hard, Doctor Logue... LIONEL : Lionel. (part 2, INT. LOGUE‟S CONSULTATION ROOM - NEW DAY)

[18] LOGUE : I‟ll put on some hot milk. BERTIE : Logue, I‟d kill for something stronger. LIONEL : I wasn‟t there for my father‟s death. Still makes me sad. (part 4, INT. LOGUE‟S CONSULTATION ROOM – CONTINUOUS)

Intertextuality also happens in the text. It refers to the situation both oral and written that has an association with another text though in a small portion, but still it is important (Gee, 2011). Bertie is asked to read one sentence “To be or not to be, That is the question. Whether it is wiser...”. The choice of the text is not incidental but it is in purpose. The neurological science mentions that the choice of the sentence is in purpose being forwarded to the Broca aphasic sufferers who mostly have difficulty in delivering the word No ifs, ands, or buts

(Gardner & Zurif: 1975). The hypothesis says that Broca aphasic patients cannot read the sentence “To be or not to be, That is the question. Whether it is wiser...”

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fluently. Instead, they can read fluently the sentence “two bee oar knot two bee”.

Through this case, the result shows that the patients‟ problem is on the meaning of the sentences not on the pronunciation. Using this kind of intertextuality,

Lionel wants to check the symptoms of stuttering that is happened to Bertie.

4.1.1.5 Politics

One of the uses of the language is to distribute social goods that become the aspect of politic purpose. Lionel‟s intention is to cure the stuttering. He has the commitment to cure the stuttering with his own way. One of his ways is that he wants an equal relation with the patient and the therapist. In order to make his patient feels comfortable with his treatment and his demand for equality, he wants to be friend with the patient. The political side in this part is that Lionel has a good intention toward Bertie.

[19] LIONEL : How about Bertie? BERTIE : (flushes) Only my family uses that. LIONEL : Perfect. In here, it‟s better if we‟re equals. BERTIE : If we were equal I wouldn‟t be here. I‟d be at home with my wife and no-one would give a damn. (part 1, INT. LOGUE‟S CONSULTATION ROOM DAY) [20] BERTIE : You know, Lionel, you‟re the first ordinary Englishman... LIONEL : Australian. BERTIE : I‟ve ever really spoken to. Sometimes, when I ride through the streets and see, you know, the Common Man staring at me, I‟m struck by how little I know of his life, and how little he knows of mine. LIONEL : What‟re friends for. BERTIE : I wouldn‟t know. (part 4, INT. LOGUE‟S CONSULTATION ROOM – CONTINUOUS) The above situation is in their fourth meeting on the scene. Despite the fact that

Lionel and Bertie have some scenes of resentful moment, Bertie can finally show

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his comfort sharing his personal matter to Lionel. That is Lionel‟s goal as one of his service as the therapist. This is part of Lionel‟s good intention to treat Bertie as his patient and friend.

4.1.1.6 Connections

To show the use of the language relating with connections, Gee suggests using Halliday‟s Systemic Functional Grammar. One of the methods is by unraveling the relational and mental process. They are part of the Transitivity process.

[21] BERTIE : If we were equal I wouldn‟t be here. I‟d be at home with my wife and no-one would give a damn. (part 1, INT. LOGUE‟S CONSULTATION ROOM – DAY)

The above quotation shows the relational process. This process conducts the identifying and classifying. The connection is the equality and its representation by calling each other a nickname. Therefore, the connection the use of nicknames rather than the formal names relates to the demand of equality.

Lionel‟s method to be able to successfully conduct the treatment is by making friend with his patient. His patient is one of the members of the royal family. He is the Duke of York, Prince Albert Frederick Arthur George.

Despite the fact, Lionel wants to keep his own rule. He ignores the rule that a royal should be treated a royal. He believes that when his patient is treated as a friend, this patient will receive better treatment both mentally and psychically.

[22] LIONEL : Your first war time speech. Congratulations. BERTIE : Expect I shall have to do a great deal more. Thank you, Logue. Bertie stands and takes Lionel‟s hand BERTIE : Thank you. My friend.

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LIONEL : Thank you... Your Majesty. (part 21, INT. BROADCASTING BOOTH, BUCKINGHAM PALACE – CONTINUOUS) At the end of the movie, after finishing the war speech, for the very first time

Bertie calls Lionel as his friend. Though Bertie does not show it through the word, but he feels the friendship during the process of the treatment. Therefore, the effort of Lionel to make the equality between him and Bertie finally works by using the nickname to call each other‟s names.

4.1.1.7 Sign System and Knowledge

The sign system and knowledge that happens in the interaction is supposed to be formal language that is seen from the social language between the commoner (the therapist) and the royal family (the king).

Although it is not relevant, considering the relationship between the two, the context of equality is still acceptable.

The situation is not relevant to the sign system and knowledge because the therapist violates the politeness that should be shown to the king.

[23] Bertie : What the bloody hell is it that makes you bloddy well want to go on about David? Lionel : Vulgar but fluent. You don‟t stammer when you swear. Bertie : Bugger off! Lionel : Is that the best you can do? (Part 6 Int. Logue‟s Consultation Room, Harley Street - New Day) The trigger on swearing proves that informal language, that is irrelevant to the relationship between the therapist and the king, is the most natural way to achieve the comfort during the treatment.

The relevance to the sign system and knowledge is the effort to make the treatment comfortable. The Discourse that shows the way people interacting in the different discourses emphasizes the knowledge about the language that is

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supposed to be used between the therapist and the king that is formal language.

However, the discourse in this context is the effort to find the equality, therefore the relevance of the sign system and knowledge is about equality that is acceptable in the way the therapist and the king interacting.

By having Seven Building Tasks of Language to analyze the interaction between Lionel and Bertie, it concludes that they give general overview that starts with the significance. The significance of being equal and the practical treatment leads to the activities that are the sharing and doing mechanical practice such as singing, swearing, reading and humming. Identities, then, reveals

Lionel‟s struggle to approach Bertie to win over Bertie‟s interest. Relationships are the result of using nicknames that introduce the equality between the therapist and the patient. The other relationships are the use of text „to be or not to be…‟ that refers to the intertextuality in which Lionel wants to check the symptom therefore he can adjust with the proper treatment. Politics show the good intention of the treatment conducted by Lionel. Connection and sign system and knowledge give the relevant information about using informal language to achieve the equality. Those seven elements link to each other to build the construction to help the king build his confident and comfort so that he can speak fluently. Therefore, the method can be proved to success because it finally helps the king overcoming his stuttering.

The systemic functional grammar has the purpose to extend the message of the Seven Building Tasks of Language. It shows the detail information by revealing the clauses hidden message systemically. The analysis of the Systemic

Functional Grammar is divided into three parts. They are ideational function,

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interpersonal function and textual function. Each of the function gives significant role to reveal the significant language use through the interaction between the therapist and the king. In this analysis, there is an agreement that the therapist is called Lionel and the king is Bertie.

4.1.2 Ideational Function

Ideational function is the function that shows the clause as representation

(Halliday, 2004). It means that the clause shows the representation of the process of doing, sensing and reflection. It is seen through the composition of the clause.

Therefore, transitivity process is needed to show the relation of the clause and its representation outside the words as it shows the process type of the clause mostly in material, mental and relational process. They are analyzed because they have the most dominant result as seen in the below table.

Table 4.2 Result of Ideational Process

4.1 NSituation Participant Process o Mater Men Behavio Verb Relatio Exista ial tal ural al nal ntial 1 PART 1 INT. LIONEL 46 18 3 15 39 3 LOGUE‟S BERTIE 30 11 6 CONSULTAT OTHERS 4 1 2 ION ROOM – DAY 2 PART 2 INT. LIONEL 39 12 7 8 32 - LOGUE‟S BERTIE 6 4 4 8 CONSULTAT OTHERS 2 2 1 3 ION ROOM - NEW DAY 3 PART 4 INT. LIONEL 24 5 2 3 53 - LOGUE‟S BERTIE 36 20 4 12 CONSULTAT OTHERS 5 - - - ION ROOM – CONTINUOU S 4 PART 6 INT. LIONEL 12 3 2 4 20 -

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LOGUE‟S BERTIE 8 2 2 13 CONSULTAT OTHERS 1 - - - ION ROOM, HARLEY STREET - NEW DAY 5 PART 7 EXT. LIONEL 22 3 - 2 30 - REGENT‟S BERTIE 20 4 1 1 PARK OTHERS 1 1 - 1 ORNAMENT AL GARDEN – DAY 6 PART 13. LIONEL 44 15 5 11 74 2 INT. BERTIE 30 7 5 3 WESTMINST OTHERS 9 3 - - ER ABBEY - THAT NIGHT 7 PART 14. LIONEL 10 3 2 1 32 3 INT. BERTIE 16 2 5 12 BERTIE‟S OTHERS - - 1 - STUDY, BUCKINGHA M PALACE – DAY 8 PART 16. LIONEL 6 4 1 3 14 - INT. BERTIE 10 3 6 3 BROADCAST OTHERS 9 2 1 - ING BOOTH – DAY

9 PART 17. LIONEL 1 - 1 - 10 - INT. KING‟S BERTIE 8 2 3 1 STUDY/BRO OTHERS - - - - ADCAST ROOM, BUCKINGHA M PALACE – DAY 10 PART 18. LIONEL - - - - 13 - INT./EXT. BERTIE 13 - - 1 MONTAGE OTHERS 6 - - - OF VARIOUS LOCATIONS 11 PART 19. LIONEL - - - - 3 - INT. BERTIE 2 1 - - BROADCAST OTHERS - - - - ING BOOTH, BUCKINGHA

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M PALACE – CONTINUOU S 12 PART 21. LIONEL 3 - 2 2 3 - INT. BERTIE 7 - 2 3 BROADCAST OTHERS 2 1 1 1 ING BOOTH, BUCKINGHA M PALACE – CONTINUOU S

The table shows the summary of the process of Transitivity. The twelve parts are divided into clauses that are analyzed through the Transitivity. The dynamic process is presented emphasizing the process of treatment from rejection into acceptance. The first part stresses the passiveness of Bertie when receiving the treatment in this case process of befriending. Lionel as the dominant actor in the first part shows his intention to make friend with Bertie in order to be equal.

The second part is still the dominant of Lionel side to be the actor. In the middle part, Bertie shows his comfort joining Lionel‟s treatment. The last part shows his grateful to Lionel for helping him by stressing the use of relational process.

4.1.2.1 Material Process

Material process is the process of doing-and-happening that represents the change in the flow of the events as giving the emphasizing on input of energy.

The semantic role shows the actor as the subject and the goal as the object. Goal is not the only form of material process, but it also consists of range and beneficiary.

The result shows that the first interaction is full of material process that is spoken by Lionel as the actor, while Bertie is the goal of the process. Lionel uses the sentences (you)…..make yourself comfortable, You…. don‟t have to answer in

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order to start the conversation with Bertie. He also represents his other patients as the actor to impress Bertie about the success of him being a therapist. He shows

Bertie that one of his patients make a toy that is put in Lionel workplace. Lionel also uses the material process make to show his authority applying his rule during the treatment.

Bertie, on the other hand, mostly becomes the goal of the material process. It is generally spoken by Lionel and Bertie in the way they use the sentences Only if you‟re…..interested in being treated, Sucking smoke into your lungs…..will kill you, and Stop calling me that!. Lionel asks Bertie whether he is interested in being treated or not, tells Bertie that sucking smoke will kill him, and stops him to call Lionel as „doctor‟. However, Bertie also appears as an actor in the material process though it is described in the narration. The sentences

I…..assure you, no infant…….starts to speak with a stammer, and no- one…….would give a damn, and (stammer growing in intensity) represent

Bertie‟s doing in showing his message to Lionel. Starting to smoke, Bertie is asked not to do it therefore he gives Lionel an astonished look. At the end, Bertie has heavy stammering when he is asked about personal matter.

Part 1 introduces the method giving distraction to Bertie so that he can speak fluently. Lionel gives instruction using material process to Bertie to read the whole sentence. The sentences And if I…..win, I….get to ask questions, One usually…..wagers money, I…..don‟t carry cash show the betting activity. Lionel offers a bet to Bertie if he can read he is paid one shilling. The next activity is using the sentences He…..sets a blank disc onto the turntable, and…..positions a microphone, then…..hands Bertie an open book conducting the process of giving

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Bertie the distraction by listening to the loud music so that he does not keep on thinking about his stuttering. Those words represent Lionel‟s activity in activating the recording tool.

The second part reveals the changing role of Bertie that has dominant part in material process both as actor and goal. It is because this part conducts the mechanical treatment as Bertie requires. Therefore, the sentences and strengthen your tongue, I…..have a sieve of sifted thistles, (you) Just….slide into it, Anyone

… can learn to give a speech, Bertie…..lies on the floor, dominate the action that has been done by Bertie during the mechanical therapy such as doing tongue twister, humming the first letter of a word and lying on the floor to control the respiration through the diaphragm.

Part 3 introduces the singing activity offered by Lionel in order to make the speech become fluent. The material process (you)……Try singing it represents

Lionel‟s command to Bertie to sing and change the lyric into the sentence that he wants to talk about. Lionel triggers Bertie by using the verbs (you) Sing it then,

Give me the chorus in an imperative mood.

This part also shows the progress on activity between Lionel and Bertie.

Bertie tells Lionel about his childhood experience being oppressed by his own father. Bertie uses his father and himself as the actors of the material process.

Father……wouldn‟t allow it, I…..had to collect stamps are the lines that are used to represent the activity that Bertie‟s father has done in the past. It is described that his father collects the stamps so does Bertie. He cannot have his own hobby.

Another method is introduced in part 4. The method reveals that by swearing, Bertie can speak fluently. The clause Because you‟re….bloody well

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paid is the material process conducting Lionel as the object of the swearing. In here, Bertie inserts the swearing in the middle of the sentence. Lionel realizes that and he even encourages Bertie to do the swearing. The rest is represented through the verbal process saying the sentences Bloody, bloody, bloody! Shit, shit, shit!

Bugger, bugger, bugger! Fuck, fuck, fuck!

Part 10, 11 and 12 are the part when Bertie gives the war speech for the first time after being the king and also after being treated by Lionel. They are the result of the treatment process and the interaction process between Lionel and

Bertie. Of course, the material process is done by Bertie in giving his speech.

Overall, material process is the process of doing-and-happening. This process shows the physical action that is done by Lionel in order to approach

Bertie and Bertie in order to give objection and acceptance toward Lionel‟s treatment method.

4.1.2.2 Mental Process

Mental clauses are concerned with the experiences of Bertie and Lionel about the world of their own consciousness. It means that the feeling, thinking, wanting and perceiving are conducted during the interaction between the two.

The analysis conducts the two main characters as the Senser.

The sentence I…..prefer Doctor accentuates the perception of Lionel that he wants to be equal with his patient. He does not care about the title of his patient as long as this patient can adapt with his rule. At the same time, Bertie also uses prefer to emphasize that he does not want to be equal with Lionel. He shows his depression finding the best treatment without having his personal matter been revealed. Therefore, when Lionel asks Bertie about his first

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recollection, Bertie demands the confirmation by asking what do you….mean?.

Mean here represents the mental process of wanting the confirmation.

Lionel is not afraid of the rejection by Bertie. He never gives up asking

Bertie in order to gain the first collection. He uses the sentence Do you…..hesitate when you think? to ask Bertie about the way he stutters. Other than that, Lionel keeps asking Bertie‟s thought about the reason why he becomes stuttering. Bertie uses the mental verb I….don‟t know to emphasize his anger toward Lionel. In addition, mental verb is conducted when Bertie saying that he does not care. The sentence I….don‟t care! care represents the other angers.

Bertie declares his willing to overcome his stuttering in the second meeting with Lionel. It means that Bertie accepts Lionel as his personal therapist.

Mental process shows Bertie‟s will and commitment to do the treatment. The sentence Logue considers…. becomes the part when Lionel thinking about doing mechanic treatment as Bertie asking for. You….want mechanics? and We….need to relax your throat muscles emphasize Lionel‟s decision since Bertie has already committed to his treatment. Bertie needs to relax his throat muscles and strengthen his tongue by saying tongue twister; therefore the activity is preceded by verbal process. This process also happens in the next mechanical treatment like humming the first letter of a word. Lionel asks Bertie to feel the loosening jaw as he is humming.

Part 3 has rich examples of how mental process conducts in this research.

This part shows Bertie comfortably shares his childhood experience with Lionel.

Lionel takes this as a precious telling since he can find the proper treatment based on Bertie‟s first recollection the reason why he becomes stuttering. Therefore,

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Bertie as the senser delivers the sentences (It)…..Happens to be my favorite, (I)

……Always wanted to build models, Knowing I…..wouldn‟t be King and Then

(he)…..remembers, (he)….puts it away. He tells Lionel his favorite song by saying happens to be my favorite, shares his feeling about the unfairness of father to force Bertie to always follow his father‟s hobby. Bertie‟s perception on doing smoking that is not good for his lung is conducted when he rmembers what

Lionel has told him about. Bertie‟s father also becomes a senser when it comes to the word encourage to tell Bertie that he should not stutter.

In conclusion, mental process helps the researcher to know Bertie‟s feeling in the beginning of the treatment until the end of the treatment. The dynamic process happens during the mental process. It is a good progress that means Bertie‟s feeling, perception, and thought become the significant part in overcoming his stuttering.

4.1.2.3 Relational Process

The significant part in this process is the process of being and having.

Usually the process conducts the adjective as the value of the process. Relational process that is conducted in this analysis reveals the relation of the method and its necessity being applied.

Bertie has difficulty in pronouncing the letter p in the initial position particularly when saying people. It is stated in his line The letter„P‟ is always difficult. It is part of value relation showing the difficulty saying the letter p.

Lionel encourages him to add the sound a before that letter. It becomes a people.

Bertie uses the method and it does work because it can cover his stuttering that people who listen to it think that it is natural to lengthen the sound a. Bertie uses

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relational process saying that it is difficult to reveal Lionel‟s method having sound a before the letter p.

The relational process in the form of token is stated in the line „a-peoples both at home and…‟ as the result of Lionel‟s suggestion to Bertie saying the words people using the article a. Token is part of real implication rather than value. After Lionel suggesting the method, Bertie does it directly as a token

(product) of the value (suggestion).

4.1.3 Interpersonal Function

Mood function is part of interpersonal function that is to confide the message. The message is the implicit intention that Lionel brings to approach

Bertie to make the treatment more comfortable. Moreover, interpersonal function analyzes the relationship with the addressee in this case Lionel as the addressee and Bertie as the addresser. The tone system also works in the analysis showing falling and rising. They become the fundamental opposition in which falling tone means certainty, rising tone means the opposite.

Part 4 indicates the first meeting between Lionel and Bertie. The dominant of the mood system is declarative mood in particular the positive ones.

The other moods are imperative, exclamative and interrogative are distributed through the interaction between Lionel and Bertie. The tone mood is in tone 1 since all of the lines spoken by Lionel represent certainty. The rest is the detail analysis showing the lines.

Line 1 Interpersonal Function

He „s a good lad, Willy Subject Finite Complement

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Mood Residue Declarative positive (part 1, Intl. Logue‟s Consultation Room – Day)

Line 2 Interpersonal Function

He Could hardly make a sound, Subject Finite Adjunct Predicator Complement Mood Residue Declarative: positive (part 1, Intl. Logue‟s Consultation Room – Day)

Line 3 Interpersonal Function

You know Subject Finite Mood Declarative: positive (part 1, Intl. Logue‟s Consultation Room – Day)

Line 4 Interpersonal Function

when he first came to me. Subject Adjunct Finite Adjunct Mood Residue Declarative: positive

(part 1, Intl. Logue‟s Consultation Room – Day)

Line 5 Interpersonal Function

My boys made those. Subject Finite Complement Mood Residue Declarative: positive (part 1, Intl. Logue‟s Consultation Room – Day)

The above script shows the first meeting. Declarative mood are dominant in Lionel‟s side when greeting Bertie for the very first time. He declares something positive to be able to impress Bertie. The five first lines show Lionel‟s effort that is mostly positive. The use of declarative mood shows the intention of

Lionel in order to approach Bertie.

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Line 6 Interpersonal Function

LIONEL: Know any jokes?

Predicator Complement

Residue

Interrogative yes/no (part 1, Intl. Logue‟s Consultation Room – Day)

Line 7 Interpersonal Function

BERTIE: Timing isn‟t my strong suit.

Subject Finite Complement

Mood Residue

Declarative: negative (part 1, Intl. Logue‟s Consultation Room – Day)

Line 8 Interpersonal Function

LIONEL: Cuppa tea?

Residue

Interrogative: yes/no

(part 1, Intl. Logue‟s Consultation Room – Day)

Line 9 Interpersonal Function

BERTIE : No thank you.

Residue

Declarative: negative (part 1, Intl. Logue‟s Consultation Room – Day)

During the six first lines of Lionel‟s talking, there is not yet a respond from

Bertie. He remains silent. Finally, after the interrogative mood about knowing a

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joke that is offered by Lionel, Bertie responds it with the declarative mood saying that he is not interested in jokes. In concludes that Bertie responds it using declarative that is negative type. The next offering is also responded with the negative declaration that Bertie refuses Lionel‟s offering of cup of tea. Tone 1 is used by Bertie in responding Lionel‟s interrogation. It means that he clearly says rejection toward Lionel‟s offering.

Line 10 Interpersonal Function

BERTIE:My physicians say it relaxes the throat.

Subject Finite Subject Finite Complement

Mood Residue

Declarative: positive (part 1, Intl. Logue‟s Consultation Room – Day)

Line 11 Interpersonal Function

LIONEL: They ‟re idiots.

Subject Finite Complement

Mood Residue

Declarative: positive (part 1, Intl. Logue‟s Consultation Room – Day)

Line 12 Interpersonal Function

BERTIE : They ‟ve all been knighted.

Subject Finite Predicator

Mood Residue

Declarative: positive (part 1, Intl. Logue‟s Consultation Room – Day)

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Line 13 Interpersonal Function

LIONEL: Makes it official then.

Finite Subject Complement Adjunct

Mood Residue

Imperative:positive (part 1, Intl. Logue‟s Consultation Room – Day)

Lionel is described as a brave personality that he does not considerate the person‟s title as long as that person agrees to be his patient. Lionel treats Bertie as if his other ordinary patients. He asks Bertie not to smoke. Bertie responds it with positive declaration that the physician before Lionel tells him to do so. Using the positive declaration, Lionel using tone 1 says that the previous one is idiot.

Again, Bertie responds it with positive declaration that all physicians before

Lionel have already been knighted. Imperative that is used by Lionel shows that he uses irony to comment to the physicians that have been knighted. His imperative is still in a positive way.

Line 14 Interpersonal Function

LIONEL: What was your earliest memory?

Subject Finite Complement

Mood Residue

Interrogative: wh- question (part 1, Intl. Logue‟s Consultation Room – Day)

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Line 15 Interpersonal Function

BERTIE: an earth do you mean?

What

Subject Complement Finite Subject Predicator

Mood Residue

Interrogative: wh- question (part 1, Intl. Logue‟s Consultation Room – Day)

Line 16 Interpersonal Function

LIONEL: First recollection.

Complement

Residue

Declarative: positive (part 1, Intl. Logue‟s Consultation Room – Day)

Line 17 Interpersonal Function

BERTIE: I ‟m not here to discuss personal matters.

Subject Finite Adjunct Adjunct Complement

Mood Residue

Declarative: negative (part 1, Intl. Logue‟s Consultation Room – Day)

Question is reacted with question. However, it is different in the tone element. Lionel uses tone 1 whereas Bertie uses tone 4 though it is in the form of question. That is what happens in Bertie‟s reaction when he is asked about his previous experience that implicitly asking about his reason why he stammers.

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When Lionel uses positive declaration to confirm his question about digging

Bertie‟s trauma, Bertie responds it with negative declaration showing his mind about sharing his personal matters to Lionel, though at this step, Bertie still shows his declarative rather than exclamative or imperative mood.

Line 18 Interpersonal Function

LIONEL: Everyone natters occasionally, Bertie.

Subject Finite Adjunct

Mood Residue

Declarative: positive (part 1, Intl. Logue‟s Consultation Room – Day)

Line 19 Interpersonal Function

BERTIE: Stop calling me that!

Finite Subject Complement

Mood Residue

Exclamation

(part 1, Intl. Logue‟s Consultation Room – Day)

Line 20 Interpersonal Function

LIONEL: I ‟m not Going to call you anything else.

Subject Finite Predicator Adjunct Complement

Mood Residue

Declarative: negative (part 1, Intl. Logue‟s Consultation Room – Day)

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Line 21 Interpersonal Function

BERTIE: Then we shan‟t speak!

Subject Finite Predicator

Mood Residue

Exclamative (part 1, Intl. Logue‟s Consultation Room – Day)

Exclamative happens for the first time on Bertie‟s side when he is called

Bertie as his only royal family uses that. He does not want to be called as Bertie by a commoner like Lionel. Lionel responds it with the same calmness but in a negative declaration that he insists on calling Bertie his nickname. Another exclamative exists in the way Bertie warns Lionel that they should not speak.

This is part of struggle that Lionel should face patiently to win Bertie‟s heart so that at the end the treatment will be more enjoyable. Tone 5 is used as a result of

Bertie‟s surprise of Lionel‟s question.

Line 22 Interpersonal Function

LIONEL:when you talk to yourself,

Subject Finite Adjunct

Mood Residue

Declarative (part 1, Intl. Logue‟s Consultation Room – Day)

Line 23 Interpersonal Function

do you stammer?

Finite Subject Predicator

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Mood Residue

Interrogative: yes/no (part 1, Intl. Logue‟s Consultation Room – Day) Line 24 Interpersonal Function

BERTIE : Of course not!

Residue

Exclamative (part 1, Intl. Logue‟s Consultation Room – Day)

Line 25 Interpersonal Function

LIONEL: What do you think was the cause?

Subject Finite Subject Predicator Finite Complement

Mood Residue

Interrogative: wh- question (part 1, Intl. Logue‟s Consultation Room – Day)

Line 26 Interpersonal Function

BERTIE: I don‟t know!

Subject Finite Predicator

Mood Residue

Exclamation (part 1, Intl. Logue‟s Consultation Room – Day)

Line 27 Interpersonal Function

BERTIE: I don‟t care!

Subject Finite Predicator

Mood Residue

Exclamation (part 1, Intl. Logue‟s Consultation Room – Day)

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Line 28 Interpersonal Function

BERTIE: “To be or not to be, That is the question.

Subject Finite Complement

Mood Residue

Declarative: positive (part 1, Intl. Logue‟s Consultation Room – Day)

Line 29 Interpersonal Function

Whether it is wiser...”

Subject Finite Complement

Mood Residue

Declarative: positive (part 1, Intl. Logue‟s Consultation Room – Day)

Line 30 Interpersonal Function

BERTIE : I can‟t read!

Subject Finite Predicator

Mood Residue

Declarative: negative (part 1, Intl. Logue‟s Consultation Room – Day)

Line 31 Interpersonal Function

BERTIE : Hopeless. Hopeless!

Residue

Exclamation (part 1, Intl. Logue‟s Consultation Room – Day)

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Line 32 Interpersonal Function

LIONEL: You were sublime.

Subject Finite Complement

Mood Residue

Declarative: positive (part 1, Intl. Logue‟s Consultation Room – Day)

Line 33 Interpersonal Function

Would I lie to a prince of the to win twelvepence?

realm

Modal Subject Finite Adjunct Adjunct Complement

adjunct

Mood Residue

Interrogative: yes/no (part 1, Intl. Logue‟s Consultation Room – Day)

The first meeting is full of exclamative done by Bertie showing that he cannot accept Lionel‟s method. Lionel, having brave and patient characteristics, shows his effort to commit on his rule to apply his method. Exclamative is generally in tone 5 stressing on amazement, however they are responded with tone 1 meaning certainty without rising tone. It explains that Lionel does not start to get emotional. Moreover, the last line describes Lionel‟s respond in interrogative mood yes/no question to confirm about the certainty that he tells the truth. The tone is tone number 2 with the falling tone asking for agreement.

Since this part is the first interaction between Lionel and Bertie, the use of mood is very significant showing the first impression that Lionel has to struggle

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with. The mood consists of declarative mood that mostly in positive way that is conducted by Lionel. It is also in negative polarity in the way Bertie rejecting

Lionel‟s offer. Exclamative emphasizes Bertie‟s disagreement and the tone gives the touch of certainty of being angry.

The next meeting shows the reducing tension between Lionel and Bertie.

The use of declarative is mostly positive and the use of exclamative is reduced.

The tone is mostly in tone 1 meaning that though it contains of disagreement, the atmosphere is still positive. There is no significant tension. The rest of the table analyses the progress in the mood and tone system.

Line 34 Interpersonal Function

LOGUE: I ‟ll put on some hot milk.

Subject Finite Predicator Complement

Mood Residue

Declarative: positive (Part 4, Intl. Logue‟s Consultation Room – Continuous)

Line 35 Interpersonal Function

BERTIE: I ‟d kill for something stronger.

Logue,

Subject Finite Predicator Adjunct

Mood Residue

Declarative: positive (Part 4, Intl. Logue‟s Consultation Room – Continuous)

Line 36 Interpersonal Function

LIONEL: I wasn‟t there for my father‟s death.

Subject Finite Complement Adjunct

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Mood Residue

Declarative: negative (Part 4, Intl. Logue‟s Consultation Room – Continuous) Line 37 Interpersonal Function

Still makes me sad.

Finite Subject Complement

Mood Residue

Declarative: positive (Part 4, Intl. Logue‟s Consultation Room – Continuous)

Line 38 Interpersonal Function

BERTIE: I can imagine so.

Subject Finite Predicator Complement

Mood Residue

Declarative: positive (Part 4, Intl. Logue‟s Consultation Room – Continuous) Line 39 Interpersonal Function

BERTIE: I was informed,

Subject Finite Predcator

Mood Residue

Declarative: positive (Part 4, Intl. Logue‟s Consultation Room – Continuous)

Line 40 Interpersonal Function

after the fact, my father‟s last words were:

Adjunct Subject Finite

Mood

Declarative: positive (Part 4, Intl. Logue‟s Consultation Room – Continuous)

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Line 41 Interpersonal Function

“Bertie has more guts than the rest of put together. his brothers

Subject Finite Complement Adjunct Predicator Adjunct

Mood Residue

Declarative: positive (Part 4, Intl. Logue‟s Consultation Room – Continuous) Line 42 Interpersonal Function

”He couldn‟t say that to my face.

Subject Finite Predicator Complement Adjunct

Mood Residue

Declarative: positive (Part 4, Intl. Logue‟s Consultation Room – Continuous) It can be seen from the tables that positive declaration mostly happens in the interaction. Bertie is in a state of calm when he talks with Lionel even when talking about feeling of sorry after the death of the father. The interaction is not only in the side of Lionel but also Bertie asks question about Lionel‟s father.

Negative declaration is only spoken by Lionel telling that he is sorry not to attend his father‟s funeral. Bertie even comfortably shares what his father‟s last words to

Lionel.

Line 43 Interpersonal Function

LIONEL: Try singing it.

Predicator Adjunct Complement

Residue

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Imperative (Part 4, Intl. Logue‟s Consultation Room – Continuous) Line 44 Interpersonal Function

LIONEL: Know any songs?

Finite Complement

Residue

Interrogative: yes/no (Part 4, Intl. Logue‟s Consultation Room – Continuous) Line 45 Interpersonal Function

BERTIE: Songs?

Residue

Interrogative: wh- question (Part 4, Intl. Logue‟s Consultation Room – Continuous) Line 46 Interpersonal Function

LIONEL: Yes songs.

Subject

Residue

Declarative: positive (Part 4, Intl. Logue‟s Consultation Room – Continuous) Line 47 Interpersonal Function

BERTIE: “Swanee River”.

Residue

Declarative: positive (Part 4, Intl. Logue‟s Consultation Room – Continuous) Line 48 Interpersonal Function

You ‟re next in line.

Subject Finite Adjunct Adjunct

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Mood Residue

Declarative: positive (Part 4, Intl. Logue‟s Consultation Room – Continuous) Line 49 Interpersonal Function

And your daughter, would then succeed you.

Elizabeth,

Subject Finite Adjunct Predicator Complement

Mood Residue

Declarative: positive (Part 4, Intl. Logue‟s Consultation Room – Continuous) Line 50 Interpersonal Function

BERTIE: ‟re barking the wrong tree now, Doctor,

“You up Doctor.”

Subject Finite Predicator Complement Adjunct Vocative

Mood Residue

Declarative: positive (Part 4, Intl. Logue‟s Consultation Room – Continuous) The imperative shows Lionel‟s method when Bertie dealing with his stuttering.

Lionel commands Bertie to sing with changing lyric so that Bertie can speak fluently. Responding to Lionel‟s command, Bertie gives interrogative yes/no question to indicate that he asks for confirmation. Compared to the previous meeting, this is expectedly that Bertie will respond it with negative declaration.

However, this part does not indicate negative declaration in Bertie‟s side.

Lionel tries to provoke Bertie talking about the possibility that Bertie might be the next king since David, the older brother is about to give in the crown. In this situation, Bertie should be angry because Lionel does not have any right to advice who to be the next king. In his singing, Bertie says you‟re barking

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up the wrong trees, Doctor, Doctor even in positive declaration though it implies disagreement about Lionel‟s statement.

The reduction of exclamative and negative declaration that is shown in

Bertie‟s language use indicates that he starts to enjoy the treatment and interaction with Lionel. The falling and rising tone also represent the reduced tension between the two. One of the methods to overcome stuttering which is by singing is also introduced during the interaction. This is part of the implicit intention that Lionel wants to conduct.

Interpersonal function is analyzed through the combination of Mood system and tone. They represent the mood of the therapist and especially the king through the process of the interaction using the declarative, imperative and interrogative mood. By using this process, the dynamic change of the king from rejecting to accepting Lionel‟s method can be analyzed.

4.1.4 Textual Function

It is said that the clause comprehend a quantum of human experience that includes some process or some change in the human environment. Three types are conducted in the process namely the process itself, the participants in that process and any circumstantial factors such as time. Manner or cause (Halliday,

2004). This function, therefore shows the process of change of Bertie‟s attitude and respond toward Lionel after several emotional meetings.

Lionel uses unmarked theme selection in his very first sentence to talk with Bertie. He does not use special conjunction or conjunctive adjunct because he thinks that the conversation conducts smoothly. He expects Bertie to respond to what he says. However it does not work since Bertie only remains silent.

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Table 3.4.2.3 Textual Function

Sentences Theme Theme Selection Textual Interpersonal LIONEL (CONT‟D) : My boys made Unmarked those. Good, aren‟t they. - - Marked Please, make yourself comfortable - - Marked

Knowing that Lionel cannot easily talk to Bertie, he uses the marked theme selection by saying Good and Please in the initial position. However, he still does not use the conjunction, conjunctive adjuct or even continuative. In this continuative, Lionel still has no idea what to call Bertie as the Duke of York.

Table 4.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection LIONEL (CONT’D) : I was also told, - - Unmarked speaking with a Royal, one waits for the - - Marked Royal to choose the topic. BERTIE : Waiting for me to - - Marked commence a conversation one can wait a rather long wait.

Table 5.4.2.3 Textual Function

Sentences Theme Theme Selection Textual Interpersonal LIONEL : - - Unmarked Know any jokes? BERTIE : - - Marked Timing isn‟t my strong suit.

The conversation above shows Bertie‟s very first respond to what Lionel says about him. His respond uses the marked theme selection in order to highlight

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his discomfort toward Lionel. Bertie states that he does not want to be too attached in a conversation especially to the one that is supposed to cure him. He also states clearly that he hates jokes and he will not do that to his therapist. The use of marked selected themes is significant to represent Bertie‟s thought and discomfort.

Table 6.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection LIONEL : Perfect. + - Unmarked In here, it‟s better if we‟re equals. + - Marked BERTIE : If we were equal I + - Marked wouldn‟t be here.

The quotation represents Bertie‟s disagreement to the offering of equality.

The textual themes are shown in the use of conjunction in the sense of semantic meaning like in here and if. Bertie highlight the use of the conjunction in the initial clause because he wants to say that he disagrees with Lionel‟s idea being equal, therefore marked theme selection is existed in the script. Lionel also shows his intention toward Bertie that he wants the treatment should as comfortable as possible; therefore he uses the marked theme selection in the word in here to emphasize that he really is serious about equality in his authority.

Table 7.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection (Bertie starts to light a cigarette from - - Unmarked a silver case.) LIONEL : Don‟t do that. - - Marked (Bertie gives him an astonished look.) - - Unmarked

Showing care to his patient is one of Lionel‟s intentions toward Bertie. He asks Bertie casually not to smoke when he sees that Bertie is about to take out his

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cigarette. Marked theme selection on putting the negative verbal group don‟t has the purpose to show the informal situation. Lionel wants the treatment being informal, therefore he applies that situation into his treatment through saying don‟t casually to Bertie.

Table 8.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection LIONEL : Why‟re you here then? - - Unmarked BERTIE : (exploding - stammer + - Unmarked free) Because I bloody well stammer! LIONEL : Temper. - - Unmarked

The textual theme shown in the use of conjunction because indicates anger on Bertie‟s side. Insisting that he does not want to tell his stuttering experience, Bertie is resentful when being asked the reason being with Lionel.

The sudden saying of because with certain intonation reflects his anger toward

Lionel.

Table 9.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection LIONEL (CONT’D) : Everyone - + Unmarked natters occasionally, Bertie. BERTIE : Stop - - Unmarked calling me that! LIONEL : I‟m not - - Unmarked going to call you anything else.

It seems that Lionel challenges Bertie‟s emotion to be revealed completely. The quotation above indicates that Lionel really tries hard to make himself being attacked with Bertie. The vocative shows the action that Lionel has

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done in order still to call Bertie his nickname. The other unmarked theme selections show that Lionel responds Bertie‟s anger with such kind of calmness.

Table 10.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection LIONEL : Bet you, Bertie, - + Unmarked you can read flawlessly, right here, - - Unmarked right now. (Bertie snorts dismissively.) - - Unmarked LIONEL (CONT’D) : And if I win, + - Marked I get to ask questions. - - Unmarked BERTIE : And if I win? + - Unmarked

The clause And if I win shows the marked theme selection that represents

Lionel‟s bet on Bertie to do a trial. He emphasizes the clause since he wants to make sure that he does not play unserious bet. He really wants to win over Bertie.

Meanwhile, Bertie‟s use of the same clause And if I win? Shows his eagerness to accept Lionel‟s bet because he is kind of sure that he cannot do the trial.

Table 11.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection BERTIE : You‟re playing music. - - Unmarked LIONEL : I know. - - Unmarked BERTIE : How can I hear what - - Unmarked I‟m saying?! LIONEL : Surely a Prince‟s - + Marked brain knows what its mouth is doing?

To impress Bertie, Lionel asks him to read while listening to the loud music. Bertie follows the instruction while wondering how he can listen to what he reads about. Lionel, using the marked theme selection, emphasizes on the word prince who is supposed to be clever enough to understand the situation.

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Table 12.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection BERTIE: I‟ve no idea - - Unmarked what an Australian might do for that sort - - Marked of money. LIONEL: Shall I play it? - - Unmarked

Bertie, again, shows his anger toward Lionel when he is hopeless. He thinks that Lionel‟s method is not appropriate for him. It is known that Lionel is not even an English man. He is not even a doctor but only a speech therapist without any title. Therefore, he highlights the clause what an Australian to point to Lionel‟s method. As a result, the clause is part of the marked theme selection.

The second part of the interaction shows the progress. Bertie is able to accept Lionel as a friend rather than a therapist. He shares his story comfortably to Lionel. The vocative and marked theme selection dominate the process of progression. The interaction is based on part 4 meaning that it is the fourth significant interaction between Lionel and Bertie. The purpose is to compare

Bertie‟s respond toward Lionel‟s method in their very first meeting and the fourth meeting.

Table 13.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection LOGUE: I‟ll put on some hot milk. - - Unmarked BERTIE: Logue, I‟d kill for - + Marked something stronger.

The conversation above shows that Bertie can easily visit Lionel when he feels weary. The situation is when Bertie‟s father, King George V, has passed

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away. Bertie visits Lionel in order to calm down his feeling by sharing it with

Lionel. The progress is significant because Bertie willingly comes to Lionel even when there is no session of treatment. The use of vocative Logue shows that

Bertie even agrees to follow Lionel‟s rule about being equal. Moreover, the vocative is in the initial position that indicates the marked theme selection. It means that Bertie throws away his pride and temper to be equal with his people.

Table 14.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection LIONEL: I wasn‟t there for my father‟s - - Unmarked death. Still makes me sad. - - Unmarked BERTIE: I can imagine so. - - Unmarked (Lionel passes Bertie a brandy.) - - Unmarked

Table 15.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection LIONEL: Try singing it. - - Unmarked BERTIE: Pardon? + - Unmarked LIONEL: Know any songs? - - Unmarked BERTIE: Songs? - - Unmarked

The unmarked theme selection represents the dynamic atmosphere between Lionel and Bertie. There is no emphasizing on the line whether anger or convincement. The interaction runs smoothly as Lionel tells Bertie about his father and Bertie responds it with sense of condolence. It is far much better compared with the first meeting when Bertie always responds to Lionel‟s words with anger. Another quotation is when Bertie gets a heavy stuttering. He can‟t barely speak therefore Lionel asks him to sing a song. It can be seen from the respond that Bertie seems considerate the singing activity to make his speaking

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fluent. The unmarked theme selection, once again, reveals that the conversation runs smoothly.

Table 16.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection BERTIE: I can‟t sit here singing! - - Unmarked LIONEL: You can with me. - - Unmarked BERTIE: Because you‟re peculiar. + - Unmarked

The tension is a bit high in the situation when Lionel keeps insisting that

Bertie should sing a song to finish his sentence. Unmarked selection theme is conducted when Bertie states that he does not want to sing. However, when another unmarked selection that comes from Lionel is conducted, Bertie emphasizes the conjunction because to refer to his disagreement.

Table 17.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection BERTIE: It was a relief... - - Unmarked Knowing I wouldn‟t be King. - - Marked (Reaches into his jacket for his cigarette - - Unmarked case. Then remembers, puts it away. + - Marked

Bertie shares his feeling about how relief of him knowing that his brother will be the next king rather than himself. There is a pause between relief and knowing that shows that Bertie actually wants to accentuate his relief by knowing that he will not be a king. It is shown in the use of marked selection theme. The progress is also stressed in the use of marked selection theme when the narrator emphasizes the clause then remembers in order to refer to the first meeting that

Lionel asks Bertie not to smoke. Moreover, the textual theme then refers to temporal type of conjunctive adjunct that shows the previous scene or memory.

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Table 18.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection LIONEL: But unless he produces an + - Marked heir, you‟re next in line. - - Unmarked And your daughter, Elizabeth, would + + Unmarked then succeed you.

Lionel‟s approach to cure Bertie‟s stuttering is making the treatment as comfortable as possible. He approaches Bertie by making friend with him. One of the ways is by encouraging Bertie to be confident. In the lines, it is pictured that

Lionel encourages Bertie that actually he has possibility to be the future king.

Lionel‟s intention is accentuated in the way he uses the textual theme but

(adversative) and the marked selection theme but unless he produces an heir to emphasize the possibility therefore it is used to encourage Bertie‟s confident. The use of textual theme and shows the additive information to support the previous clause. The use of vocative Elizabeth defends the additive information to directly point to the object.

Table 19.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection BERTIE: “You‟re barking up the wrong - + Unmarked tree now, Doctor, Doctor.” LIONEL: “Lionel, Lionel.” - + Unmarked You didn‟t stammer. - - Unmarked BERTIE: Of course I didn‟t stammer, + - Unmarked I was singing! - - Unmarked (realises) - - Unmarked Oh... + - Unmarked LIONEL: Well, as a little reward, you get + - Marked to put some glue on these struts.

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This part is very rich in textual and interpersonal theme and marked theme selection. The vocative Doctor, Doctor and Lionel, Lionel are used to remain

Bertie that he should call Lionel his surname. On Bertie‟s side, he calls Lionel as

Doctor because he wants to remind Lionel about the limit of his words. Lionel does not have right to advice Bertie what should he does. To be or not to be a king is Bertie‟s matter. He thinks that Lionel has nothing to do with that matter.

The use of textual theme is stressed out in the obviousness meaning of course.

Bertie says it in the initial position that means he is sure about how obvious he is when he does not stammer. Then he realizes that it is because he is singing. The last is the use of well that signs a new move when the dialogue happens. Lionel probably agrees with Bertie that he has no right about encouraging Bertie to be a king. Therefore, he changes the topic by using well in order to give Bertie a reward for he is willing to sing. Thus, the marked theme selection is conducted in the first clause to emphasize the changing topic.

Table 20.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection BERTIE (CONT’D) : You know, - + Marked Lionel, you‟re the first ordinary Englishman... LIONEL : Australian. - - Unmarked BERTIE : ...I‟ve ever really - - Unmarked spoken to. Sometimes, when I ride through the streets + - Marked and see, you know, the Common Man staring at me, + - Unmarked I‟m struck by how little I know of his life, - - Unmarked and how little he + - Unmarked knows of mine. LIONEL : What‟re friends - - Marked for.

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The session of this part finally reveals the confession of Bertie who admits implicitly that he is grateful to have Lionel as his therapist. The use of you know means admission. Bertie admits that Lionel is the first Australian to whom to talk such a personal matter. To the matter of fact, it is being marked to make sure that Lionel really listens to what Bertie says. The confession continues when

Bertie uses textual theme sometimes as a type of usuality that means how often it happens to Bertie. He happens to witness how often he is starred by people who seem to judge his life. Another admission you know is used when he wants to emphasize the Common Man such Lionel knows little about Bertie‟s life.

Additive type supports the other statements that Bertie also feels the same way that he does not know other people‟s lives. Lionel responds with marked theme selection using nominal group functioning as interrogative (wh-) element, which is what‟re friend for.

The third session is the last session that is used to reveal the language use that is analyzed through textual function. This part describes Bertie‟s rehearsal for his coronation in the next day. Lionel helps him to memorize his line and, of course, to encourage him to speak fluently. During the rehearsal, the tension between Lionel and Bertie arises but at the end can be resolved successfully. It is proved that Bertie really changes from time to time in accepting the treatment.

Table 21.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection BERTIE : I‟m not here to rehearse, - + Unmarked Doctor Logue. (Pause-) Left unanalyzed BERTIE (CONT’D) : True, you never - - Marked called yourself „Doctor‟. I did that for you. - - Unmarked (MORE) No diploma, no training, no qualifications. - - Unmarked Just a great deal of nerve. - - Unmarked

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Bertie knows for the very first time that Lionel is not even a doctor. To make him worse, Lionel is not the credential therapist that is knighted by the royal family. In conclusion, he is totally an outsider, an Australian and only a speech defect without title. However, Bertie admits that Lionel has such a great ability to cure his patient and during the process of befriending, Bertie finally trusts him though he never shows it to Lionel explicitly.

This part of the conversation shows the confirmation that is said by

Bertie. Vocative Doctor Logue is to trig Lionel‟s reaction as he is called doctor.

However, there is no respond From Lionel. Bertie continues using marked theme selection true to emphasize his confirmation toward Logue‟s tittle. At the end he uses unmarked theme selection I did that for you to say that he does not mind at all but in an explicit way. Therefore, he uses unmarked theme in order to hide his true admission toward Lionel‟s ability. Once again, Bertie uses unmarked theme selection when saying just a great deal of nerves to show another admission that

Lionel has such a brave characteristic but Bertie does not want to make it obvious.

Table 22.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection LIONEL : It‟s true, - - Unmarked I‟m not a doctor, - - Unmarked and yes I acted a bit, + - Unmarked recited in pubs and taught elocution in - - Unmarked schools. When the Great War came, our boys were + - Marked pouring back from the front, shell-shocked and unable to speak - - Unmarked and somebody said, + - Unmarked “Lionel, you‟re very good at all this - + Unmarked speech stuff. Do you think you could possibly help these poor buggers”.

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I did muscle therapy, exercise, relaxation, - - Unmarked but I knew I had to go deeper. + - Unmarked Those poor young blokes had cried out in - - Unmarked fear, and no-one was listening to them. + - Unmarked My job was to give them faith in their - - Unmarked voice and let them know + - Unmarked that a friend was listening. + - Unmarked That must ring a few bells with you, - + Unmarked Bertie.

In order to respond to Bertie‟s confirmation, Bertie uses some stresses in his achievement curing many stutterers in his previous years before meeting

Bertie. There are four textual themes that are used in Lionel‟s line. The type of the textual theme is additive means that Lionel accentuates the word and to highlight past experience that is important for Bertie to be known. Things that

Bertie should know is that Lionel is also an actor rather than a doctor, that he is asked to help the soldier who stutters, that he helps ignored soldiers because of their disability to speak and that he lets those soldiers know that he is their friends rather than their therapist that also happens with Bertie.

Table 23.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection BERTIE : Inquiries have - - Unmarked been made! You have no idea - - Unmarked who I have breathing down my neck. + - Unmarked I vouched for you - - Unmarked and you have no credentials. + - Unmarked

Bertie‟s temper somehow is unbelievable. It is not enough for him to admit Lionel‟s credibility but he has to make it like a worthy argument. Still, he uses unmarked theme selection to hide his true intention, but he uses textual

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theme but to show adversative. It means that he does not want to agree with

Lionel, not with his pride. At the end, he stresses the status of Lionel using additive and in an unmarked theme selection.

Table 24.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection BERTIE: Divine right, if you must! - - Marked I‟m your King!!! - - Unmarked LIONEL: Noooo you‟re not! - - Marked Told me so yourself. - - Unmarked Said - - Unmarked you didn‟t want it. - - Unmarked So why should I waste my time listening + - Unmarked to you? BERTIE: Because I have a right to be + - Unmarked heard! LIONEL: Heard as what?! - - Marked BERTIE: A man! - - Unmarked I HAVE A VOICE!!! - - Unmarked LIONEL: (quietly) Yes you do. - - Marked You have such perseverance, - - Unmarked Bertie, you‟re the bravest man I know. - + Unmarked And you‟ll make a bloody good king. + - Unmarked

Knowing that Bertie is in a state of melancholy level, Lionel tries to provoke him by using marked theme selection and textual theme. The markedness is shown in the way Lionel says no in a longer tone that stresses his disagreement with Bertie. Moreover, he uses causal type of conjunctive adjunct so to confirm his disagreement. Being triggered with Lionel‟s provocation, Bertie responds it with the same use of causal because in the initial position to directly react to Lionel‟s disagreement. In here, Bertie says confidently that he is a king who must be heard by his people. Again, Lionel uses marked theme selection using wh- question as the object of the clause to hear the answer that is expected from Bertie. When Bertie says that he has a right to be heard a king, Lionel‟s

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response is in marked theme selection to emphasize his changing thought, agreement toward Bertie. To close his confirmation, Lionel uses additive and to say that Bertie has such perseverance and the use of vocative Bertie to focus on

Lionel‟s intention provoking Bertie.

Table 25.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection You didn‟t consult, but you‟ve just been - - Unmarked advised. BERTIE : Now I advise you: + - Unmarked in this personal matter I will make my - - Marked own decision. COSMO LANG: My concern is for the - - Unmarked head upon which I must place the crown. + - Unmarked BERTIE : I appreciate that - - Unmarked Archbishop, but it‟s my head! + - Unmarked

The dominant of textual theme happens in this part when Bertie is on

Lionel‟s side. He defends Lionel who is about to be fired from his position as the therapist by the archbishop. Bertie uses textual theme now as temporal type to show his authority that now he can make a decision. He emphasizes the clause in this personal matter in marked selection them to stress the authority. When the archbishop still confronts Bertie‟s statement, Bertie uses adversative but to say the opposite idea of the archbishop.

Table 26.4.2.3 Textual Function

Sentences Theme Theme Textual Interpersonal Selection LIONEL (CONT’D) :As soon as you and - - Marked Elizabeth enter the West door, you‟ll be greeted with the hymn “I Was Glad When They Said Unto Me.” You won‟t actually be that glad, - - Unmarked because they sing it for a great long time. + - Unmarked Then your friend the Archbishop will ponce up and + - Unmarked say,

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Here, Lionel tries to make the rehearsal is as fun as possible. The use of marked theme selection in As soon as you and Elizabeth enter the West door indicates the procedure that Bertie should follow and highlight. In addition,

Lionel use type of causal in the initial position to introduce his joke that the choir will sing in a great long time that literally will not make Bertie be glad at all since the title of the welcoming song is “I Was Glad When They Said Unto Me.” The emphasizing of other jokes is in the use of then as the temporal type of conjunctive adjunct. It is placed in the initial position since it accentuates the next joking that is archbishop as the king‟s friend. The diction friend is not appropriate therefore it is part of Lionel making joke to give fun in the rehearsal. The result is good since Bertie does not even object Lionel‟s jokes.

The textual function emphasized the use of marked and unmarked theme selection. The characters used those theme selections to emphasize the intention whether to object or to agree with each other. The marked theme selection is to accentuate the statement both of the characters showing their concerns.

4.2 The Power of Language to Overcome the Stuttering Compared with the Standard Treatment

The psychological approach shows the indication that Bertie has a childhood trauma. He has oppression since childhood from his beloved father, the

King George V. He naturally is left-handed but his father forces him to use right hand. Bertie‟s leg is also not straight, and the father urges him to wear metal splints that hurt him a lot. Little Bertie has trauma in being oppressed to do something the he does not want to do. One of the occasions in the script shows

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his confession that his hobby is being controlled by his father. He is also punished when he uses left hand to write.

Several methods have been proved with two main standard theories. The valsalva mechanism and the Van Riperian method are the main standard theories that are used to compare with Lionel‟s unorthodox method. It is since these theories summarize the success of the treatment and these methods are adjusted with the kind of stuttering that Bertie has experienced.

In the movie, it is explained that the king feels difficulty to say p in his first speech. The valsalva mechanism explains that the letter p has little effort from of lips to say so. If the speaker is fluent then saying p is not a difficult effort to do. In the king‟s case, he feels that it must be difficult to say that letter and he tries so hard to say it. Unconsciously, the king makes a valsalva mechanism that in his brain, he should say p and as a result he tries hard to achieve it. Instead of achieving it, the king stutters in that letter. Lionel asks the king to say a before p.

It is explained that the purpose of Lionel is to trick the king‟s brain to a little bit forget about the letter p.

The activity is explained in the transitivity process through the relational process. The word difficult represents the relational activity about pronouncing the letter p in the initial position. Lionel suggests Bertie to use sound a as the distraction so that Bertie can execute the letter p successfully.

Another occasion is when Lionel asks Bertie to read some sentences while listening to the music trough headphone. The researcher realizes that it is part of

Lionel‟s intention as a therapist to give Bertie distraction to forget his stuttering.

The result is good. When Bertie plays the recorder, he finds that his reading is

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conducted fluently. It is because Lionel uses the distraction method that is described in valsalva mechanism. It says that the less the stutterers think about the sentence that they want to say; the more fluent they will be because the system on valsalva mechanism will work the opposite.

The occasion on recording the reading scene is one of Lionel‟s methods to impress Bertie for their first meeting. It is described in the process of interpersonal using the mood system and tone. Bertie has no patient to do

Lionel‟s method listening to the loud music while reading the sentence at the same time. Therefore, Bertie uses more exclamative mood in rising tone in order to show his temper. On the other hands, Lionel faces Bertie patiently and bravely.

They are also described as Lionel‟s characteristics. Through the use of positive declarative mood and falling tone, Lionel can win Bertie‟s interest in the therapy session using his unorthodox approach.

In the comparison of the next interaction between Lionel and Bertie, the frequency of exclamative and negative declarative mood is reduced. Bertie rarely uses the exclamative to respond to Lionel‟s offering or question. He keeps his tone falling even when he does not agree with Lionel. He shares his disagreement through singing. In that singing, the tone is falling though the lyric showing disagreement.

Scientific studies have found that, before the larynx makes a voiced sound, a process called prephonatory tuning must occur. However, if the body is tuned for a Valsalva maneuver, the larynx will be prepared to perform effort closure instead. It will not be ready to phonate. Therefore, even if the larynx does

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not actually close, phonation may be delayed as the stutterers struggle to re-tune the larynx to make the proper sound.

This may also help us understand why the stutterers are usually fluent when they sing. When Bertie sings, his mind concentrates on the melody, rather than trying to force the words out. Therefore, his larynx is constantly tuned for phonation, and is always ready to phonate at the proper time.

Swearing, unfortunately is not the part of the standard treatment since probably in this modern era, people tend to be formal and structured. As a result, the use of swearing is mentioned as an inappropriate standard treatment.

However, the movie emphasizes the significant of the swearing part to be the material process that conducts the action of swearing.

The Van Riperian method is the approach using interpersonal communication. Since the very first meeting between Lionel and Bertie, Lionel declares himself clearly that he want to be in an equal relation between him and even Bertie as the royal family member. Lionel calls Bertie his nickname to show the intention to be close with him. He signs Bertie that he wants to know more about Bertie. This is also the significant approach because Lionel gets the information about the first recollection. Lionel‟s expectation from being close with Bertie is that he wants Bertie to be comfortable when he tells about his traumatic.

To get Bertie‟s interest is not easy for Lionel since he has to face Bertie‟s difficult personality such as prideful and bad temper. Fortunately, Lionel has brave and patient characteristics as he is able to deal with Bertie‟s difficult characteristics. To be a patient and able to listen to the patient are what the

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therapist needs in the session of interpersonal communication. It is stated in the

Van Riperian method that the therapist will not continue his treatment when the patient has not yet got rid of the interpersonal communication. It means that

Lionel has to make Bertie feel comfortable with his approach.

Such characteristics are analyzed through the Seven Building Tasks of

Language. It is stated in the element of identities. The identities show the relation with the significant of the interaction which is to gain the personal closeness between the therapist and the patient.

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CHAPTER V

Conclusion and Suggestion

5.1 Conclusion

This chapter consists of the comparison of the standard treatment with the treatment that is conducted in the movie. The conclusion during the analysis is stated during the standard treatment session. The twelve parts of data are the empirical evidence that the language use that is used during the interaction is indeed significant to help the king become confident and he can speak fluently at the end of the treatment. The significance is proved through the analysis of Seven

Building Tasks of Language and Systemic Functional Grammar with the knowledge from stuttering theory stating that it is part of psychological disorder.

Standard treatment confirms that the treatment done by the therapist who follows unorthodox method is the valid treatment that still can be applied nowadays.

Struggling for equality is conducted in the way Lionel adjusts with

Bertie‟s personality. Lionel has to be patient and brave to win Bertie‟s interest with the treatment since it is not easy to do so. Bertie, who has received oppression since childhood, has prideful and bad temper. The identities in Seven

Building Tasks of Language prove those characteristics. Moreover, the transitivity process supports the struggling through the transitivity. It shows the action that has been done by the two characters that is asking for sharing and rejecting. Mental process shows the feeling of both characters that is feeling of certainty and feeling of anger. The certainty is shown through Lionel assuring

Bertie to call each other with the nicknames, meanwhile the feeling of anger is shown through Bertie getting angry being called as Bertie. Relational process,

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furthermore, shows the value of being that is being certain and being angry.

Mood and Tone system also contribute the earlier mood from Lionel that is full of declarative and imperative and Bertie who at first full of exclamative showing his anger and rejection. The use of conjunction as a marked theme selection emphasizes the feeling of uncomfortable. Those processes are united to reveal the struggle of Lionel in order to make Bertie feel comfortable with his treatment by asking him to be Lionel‟s friend rather than Lionel‟s patient. One of the methods is by showing equality between the two.

Comfort during the treatment is important. Lionel has an effort to make

Bertie feel comfortable with his treatment. It is supported by the Van Riperian method that states in order to overcome the stuttering, a patient should overcome his discomfort, anxiety and depression. It means that the patient should feel relax and he can maximize the treatment into the best result without any worries.

Lionel keeps asking Bertie to share his problem especially about the background of the family so that Lionel can also get the information about the first recollection.

The practical method overcoming the stuttering is stated through the analysis of Seven Building Tasks of Language and Systemic Functional

Grammar. The activities are stressed in the way Lionel asks Bertie to tell about the first recollection, practicing the mechanical treatment such as humming the first letter of a word a little bit longer, doing tongue twister, reading, singing and swearing. The material process shows the verb (you)….sing it! and (you)…Give me the chorus that reveal the doing and happening in the material process. The use of exclamative shows the command to do the activity.

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The mechanical process is supported by the Valsalva mechanism that shows the power of distracting own thought to do other things. It means that

Bertie has to get the distraction to forget his stuttering. It is proved in material process of reading when Bertie reads a sentence To be or not to be…while he listening to the music. Bertie can read fluently as Lionel recording his voice.

Lionel uses the method of being distracted and at the same time using particular text to read since he wants to know Bertie‟s symptom of stuttering. It is known that Bertie‟s stuttering is part of psychological disorder that relates to the childhood‟s trauma of oppression. The intertextuality happens in the analysis when Lionel purposely asks Bertie to read the text To be or not to be… a line in the Shakespearean drama. The psychological field explains that this sentence tries to reveal whether the stutterer has brain damage or it is only psychological disorder.

In conclusion, Lionel has cured Bertie‟s stuttering with unorthodox method that nowadays can be proved to be effective method to cure the stuttering.

Today‟s methods are applied such as The Van Riperian method and The Valsalva

Mechanism. The struggle of equality, the effort to create comfortable treatment and the practical mechanism to get over stuttering are analyzed through Seven

Building Tasks of Language and Systemic Functional Grammar to show the progress into the overcoming stuttering from the inequality becoming equality, rejecting becoming accepting and anger becoming relief. At the end of the movie,

Bertie gives the war speech flawlessly for the very first time.

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5.2 Suggestion

Discourse analysis is the analysis of language use that precedes the theory of Seven Building Tasks of Language and Systemic Functional Grammar.

However, they are limited in the analysis. It means that they analyze the significant interaction between the therapist and the king. Those theories help to reveal the significant language use that is used to overcome the king‟s stuttering.

The study conducts the stuttering theory to track the king‟s childhood trauma. The trauma is happened during the king‟s interaction with his father. It explains how the repression really gives the impact to the development of the king‟s characteristics. Even worse, he becomes stuttering.

The brain and its development does not have portion to be analyzed through this analysis. Therefore, it is worth to the next study to discuss more the development of the king‟s brain. Neurolinguistics is the study of how the brain works with language especially with the input of the syntax. Based on that knowledge, neurolinguistics studies more on the mostly speaking disorder to analyze what happens inside the brain relating to the reading of syntax knowledge

(Ingram:2007)

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BIBLIOGRAPHY

American Psychiatric Association . (2000). Diagnostic and Statistical Manual of Mental Disorder TR Ed 4. Washington DC. https://www.psychiatry.org/psychiatrists/practice/dsm Back, J Gayle and Maning Beck (2013). “The Role of Psychological Process in Estimates of Stuttering Severity. Journal of Fluency Disorder 38, 358-367 Bergland, C., (2013). Psychology Today. Retrieved May 19, 2016, from The Athlete‟s Way: https://www.psychologytoday.com/blog/the-athletes- way/201312/tongue-twisters-reveal-quirky-brain-functions Blood, W.E., Blood, I.M., Bennett, S., Simpson, K.C., & Susman, E.J. (1994). Subjective Anxiety Measurements and Cortisol Responses in Adults who Stuttter. Journal of Speech and Hearing Research, 37, 760-768.

Bogue, B.N. (2009). Stammering its Cause and Cure. The Floating Press: http://en.bookfi.org/book/1204886 Broen, W.E. & Coleman, J.C., (1973). Abnormal Psychology and Modern Life (4th ed). New York: Scott, Foresman and Company.

Brown, G. and George Yule. (1983). Discourse Analysis. Cambridge: Cambridge University Press. Burton, Dierde. (1980). Dialogue and Discourse. London: Routledge. Conture, E.G., & Guitar, B. (2007). The Child who Stutters: To the Pediatrician (4th ed.). Memphis. Tennessee: Stuttering Foundation of America.

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Cutting, J. (2002). Pragmatics and Discourse: A Resource Book for Students. London: Routledge. Downing, Angela and Phillip Locke. (2006). English Grammar: A University Course 2nd Ed. New York: Routledge. Editors, Biography.com. (2015). George VI. Retrieved September 28, 2015, from The Biography.com website: http://www.biography.com/people/george-vi- 9308937 Field, John. (2003). Psycholinguistics: A Resource Book for Students. Routledge English Language Introductions. New York: Routledge.

Frankel, Bernard. (2011). Film Review. The King‟s Speech and the Fighter: A Review of Two Academy Award Selections. Eastern Group Psychotherapy Society, p.353-355.

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Gee, J. P. (2011). An Introduction of Discourse Analysis: Theory and Method. New York: Routledge

Guitar, B. (2006). Stuttering: An Integrated Approach to Its Natural Treatment (third ed.). New York: Lippincot Williams & Walkins Halliday, M.K. (2004). An Introduction to Functional Grammar. London: Arnold. Halliday, M.A.K., Hasan, R. 1976: Cohesion in English. London: Longman Howell, Peter. (2005). Stammering Research. The British Stammering Association. Vol-1. Ingram, John, C.L. (2007). Neurolinguistics: An Introduction to Spoken Language Processing and its Disoreder. New York:Cambridge University Press. Karim, S. (2015). Style and Language of Inequality in the Movie “The King‟s Speech”. ENH Community Journal, 1-7. Mahr, G. C., & Torosian, T. (1991). Anxiety and Social Phobia in Stuttering. Journal of Fluency Disorder, 24, 119-126 Menzies, R., Messenger , M., & Onslowa, M., (2004). Social Anxiety in Stuttering: Measuring Negative. Journal of Fluency Disorder, 29, 201- 212.

Miller, S., & Watson, B.C., (1992). The Relationship between Communication Attitude, Anxiety and Depression in Stutters and Nonstuters. Journal of Speech and Hearing Research, 35, 789-798

Noth, W. (1990). Handbook of Semiotics. Indianapolis: Indianapolis University Press. Nunan, David. (1992). Research Methods in Language Learning. Cambridge: Cambridge University Press. Parker, J.N., & Parker, P.M. (2002). The 2002 Official Patient‟s Sourcebook on Stuttering. ICON Group International, Inc. Paltridge, B. (2006). Discourse Analysis: An Introduction. London: Continuum. Parry, W.D. (2011, Dec 8). The Valsalva Stuttering Network. Retrieved May 17, 2016, from The Valsalva Stuttering Network: http://www.org/valsalva.htm Riper, C. (1963). Speech correction; principles and methods (4th ed.). Englewood Cliffs, N.J.: Prentice-Hall. Riha Rahma Mufida.(2015). The Discourse of The King‟s Speech Film by Tom Hooper. Thesis. Cultural Studies Magister Program Postgraduate Sebelas Maret University of Surakarta.

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Shell, M. (2005). Stutter. London: Library of Congress Cataloging. The British Medical Journal. (1965). Stammering. BMJ. Vol 2, No. 5460. Pp 491- 492.

World Health Organization. (1992). International Statistical Classification of Diseases and Related Health Problems, Tenth Revision (ICD-10). Geneva: World Health Organization.

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APPENDICES

Appendix 1 Ideational Process TABLE 1.1 IDEATIONAL METAFUNCTION : part 1 int. logue‟s consultation room - day Clause Semantic Transitivity Function Process LIONEL Token Relational He‟s a good lad, Willy. He could hardly make a sound, Actor Material when he first come in. Actor Material My boys made those. Actor Material Good, aren‟t they? Value Relational Please make yourself comfortable. Range Material I was told not not to sit to close Receiver Verbal I was also told, Receiver Verbal speaking with a Royal, Sayer Verbal one waits for the Royal to choose the topic Actor Material BERTIE Actor Material Waiting for me to commence a conversation one can wait a rather long wait LIONEL Senser Mental Know any jokes? BERTIE Token Relational Timing isn‟t my strong suit. LIONEL Token Relational Cuppa tea? process BERTIE Sayer Verbal No thank you

LIONEL Senser Mental I think I‟ll have one. Actor Material BERTIE Actor Material Aren‟t you going to start treating me Dr Logue? LIONEL Goal Material Only if you‟re interested in being treated. Please, call me Lionel. Actor Material BERTIE Actor Mental I prefer Doctor. LIONEL Actor Mental I prefer Lionel. What‟ll I call you? Actor Material BERTIE Token Relational Your Royal Highness, then Sir after that.

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LIONEL Senser Mental A bit formal for here. What about your name? Phenomenon Mental BERTIE Token Relational Prince Albert Frederick Arthur George? LIONEL Token Relational How about Bertie? BERTIE Goal Material (flushes) Only my family uses that. LIONEL Value Relational Perfect. In here, it‟s better if we‟re equals BERTIE Value Relational If we were equal I wouldn‟t be here. Token Relational I‟d be at home with my wife Value Relational and no-one would give a damn. Beneficiary Material (Bertie starts to light a cigarette from a silver Actor Material case.) LIONEL Actor Material Don‟t do that. (Bertie gives him an astonished look.) Actor Material BERTIE Sayer Verbal I‟m sorry? LIONEL Actor Material Sucking smoke into your lungs will kill you. BERTIE Sayer Verbal My physicians say it relaxes the throat. Senser Mental LIONEL Token Relational They‟re idiots. BERTIE Token Relational They‟ve all been knighted. LIONEL Goal Material Makes it official then. My „castle‟, my rules. Value Relational What was your earliest memory? Token Mental BERTIE Senser Mental What an earth do you mean? LIONEL Token Relational First recollection. BERTIE Actor Material (stammer growing in intensity) I‟m not here to discuss personal matters. Carrier Relational LIONEL Value Relational Why‟re you here then? BERTIE Actor Material (exploding - stammer free)

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Because I bloody well stammer! Actor Material LIONEL Value Relational Temper. BERTIE Carrier Relational One of my many faults. LIONEL Actor Material When did the defect start? BERTIE Value Relational I‟ve always been this way! LIONEL Senser Mental (quietly) I doubt that. BERTIE Sayer Verbal Don‟t tell me! It‟s my defect! Token Relational LIONEL Token Relational (calmly) It‟s my field. I assure you, Senser Mental no infant starts to speak with a stammer. Actor Material When did it start? Actor Material BERTIE Token Relational (annoyed) Four or five. LIONEL Value Relational That‟s typical. BERTIE Receiver Verbal So I‟ve been told. (quickly adds) Actor Material I can‟t remember not doing it. Senser Mental LIONEL Senser Mental That I believe. Do you hesitate Senser Mental when you think? Senser Mental BERTIE Value Relational Don‟t be ridiculous. LIONEL Token Relational One of my many faults. How about when you talk to yourself? Sayer Verbal (Bertie is silent.) Value Relational LIONEL Actor Material Everyone natters occasionally, Bertie. BERTIE Goal Material Stop calling me that! LIONEL Actor Material I‟m not going to call you anything else. BERTIE Sayer Verbal Then we shan‟t speak! (Silence. Circumstance The kettle whistles. Senser Behavioural

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Lionel makes himself a cup of Actor Material tea.)

BERTIE Senser Mental Are you charging for this, Doctor? LIONEL Token Relational A fortune. So, Bertie...when you talk to yourself, Sayer Verbal do you stammer? Behaver Behavioural BERTIE Sayer Verbal Of course not! LIONEL Value Relational Thus proving your impediment isn‟t a permanent part of you. What do you think was the cause? Senser Mental BERTIE Senser Mental I don‟t know! I don‟t care! Senser Mental I stammer. Behaver Behavioural And no one can fix it. Goal Material LIONEL Actor Material Bet you, Bertie, you can read flawlessly, right here, right now. Circumstance (Bertie snorts dismissively.) Behaver Behavioural LIONEL Actor Material And if I win, I get to ask questions. Sayer Verbal BERTIE Actor Material And if I win? LIONEL Actor Material You don‟t have to answer. BERTIE Actor Material One usually wagers money. LIONEL Token Relational A bob each to sweeten it? See your shilling. Senser Mental BERTIE Actor Material I don‟t carry cash. LIONEL Senser Mental I had a funny feeling you mightn‟t. Logue fishes two coins from his pocket Actor Material and puts them on the table. Actor Material Stake you. Actor Material Pay me back next time. Actor Material BERTIE Existent Existential If there is a next time. LIONEL Behaver Behavioural

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(nods) I haven‟t agreed to take you on. Senser Mental (Logue has uncovered a piece of apparatus, a Actor Material recording device with earphones. He sets a blank disc onto the turntable Actor Material and positions a microphone, Actor Material then hands Bertie an open book.) Actor Material (Bertie glares at it defiantly.) Behaver Behavioural BERTIE Actor Material I can‟t possibly read this. LIONEL Actor Material Then you owe me a shilling for not trying. (Furious, Bertie opens the book Actor Material and reads, Actor Material stammers badly Behaver Behavioural And gets worse.) Actor Material BERTIE Value Relational “To be or not to be, That is the question. Token Relational Whether it is wiser...” Token Relational There! Existent Existential (He hands the book back to Lionel.) Actor Material BERTIE Actor Material I can‟t read! LIONEL Actor Material I haven‟t finished yet. (Lionel returns the book to Bertie Actor Material and turns to some recording Actor Material apparatus on a nearby table.) LIONEL Actor Material I‟m going to record your voice and then play it back to you on the same Actor Material machine. This is brilliant. Value Relational It‟s the latest thing from America: a Silvertone. Token Relational (He hands Bertie a pair of heavily padded Actor Material earphones. Bertie doesn‟t want to take them.) Senser Mental LIONEL Existent Existential There‟s a bob in this, mate. You can go home rich! Actor Material (Bertie reluctantly puts them on. Actor Material Logue turns a dial. Actor Material LOUD MUSIC is heard. Token Relational Bertie takes off the earphones. Actor Material The music stops.) Phenomenon Mental

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BERTIE Actor Material You‟re playing music. LIONEL Senser Mental I know. BERTIE Behaver Behavioural How can I hear what I‟m saying?! Sayer Verbal LIONEL Senser Mental Surely a Prince‟s brain knows what its mouth is doing? Actor Material BERTIE Senser Mental You‟re not well acquainted with Royal Princes, are you? (Bertie replaces the earphones. Actor Material Again, the LOUD MUSIC. Token Relational His mouth moves Actor Material as he reads, Actor Material but all that can be heard is the music.) Senser Behavioural (Finished, Bertie takes off the earphones and the Actor Material music ceases. Bertie reaches for the coins, but Logue snatches Actor Material them.) BERTIE Value Relational Hopeless. Hopeless! LIONEL Value Relational You were sublime. Would I lie to a prince of the realm to win Senser Mental twelvepence? BERTIE Actor Material I‟ve no idea what an Australian might do for that sort of Actor Material money. LIONEL Actor Material Shall I play it? BERTIE Sayer Verbal No. LIONEL Actor Material If you prefer, we‟ll just get on to the questions. Actor Material BERTIE Sayer Verbal Thank you Doctor, I don‟t feel this is for me. Senser Mental (He heads for the door. Actor Material

Logue puts the record in a brown paper dust Actor Material jacket

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and hands it to Bertie.) Actor Material LIONEL Token Relational Sir? The recording is free. Please keep it as a souvenir? Goal Material (Lionel opens the door for Bertie Actor Material and closes it behind him.) Actor Material

TABLE 1.2 IDEATIONAL METAFUNCTION : part 2 int. logue‟s consultation room - new day Clause Semantic Transitivity Function Process

(Bertie and Elizabeth have returned to the consultation Actor Material room.)

BERTIE Token Relational Strictly business. No personal nonsense. Value Relational ELIZABETH Senser Mental I thought I‟d made that very clear in our interview. (Logue is silent, then:) Carrier Relational

LIONEL Goal Material Got the shilling you owe me? BERTIE Actor Material No I don‟t! LIONEL Senser Mental Didn‟t think so. BERTIE Beneficiary Material Besides, you tricked me! LIONEL Actor Material No, I showed you what you can do. Actor Material (tries to get them to understand) Goal Material What you‟re asking Sayer Verbal will only deal with the surface of the problem. Actor Material ELIZABETH Value Relational That‟s sufficient. My husband has difficulties with his speech. Token Relational Just deal with that. Senser Mental BERTIE Senser Mental I‟m willing to work hard, Doctor Logue... LIONEL Token Relational Lionel. BERTIE Senser Mental Are you willing to do your part?

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(Logue considers, Senser Mental then tells Bertie) Sayer Verbal LIONEL Sayer Verbal Alright. You want mechanics? Senser Mental We need to relax your throat muscles Senser Mental and strengthen your tongue. Beneficiary Material By repeating tongue twisters for example. Sayer Verbal “I am a thistle-sifter. Token Relational I have a sieve of sifted thistles and a sieve of unsifted Actor Material thistles. Because I am a thistle sifter.” Token Relational BERTIE Value Relational Fine. LIONEL Range Material You have a flabby tummy, we must build up the strength in your diaphragm. Actor Material Simple mechanics. Value Relational ELIZABETH Token Relational That is all we ask. LIONEL Token Relational And that‟s about a shilling‟s worth. BERTIE Senser Mental Forget about the blessed shilling! (calm again) Perhaps, upon occasion, Token Relational I shall request some assistance in coping with a minor Sayer Verbal event. Will that be agreeable? Value Relational LIONEL Of course. ELIZABETH Value Relational That will be the full extent of your services. BERTIE Senser Mental Shall I see you next week? LIONEL Senser Mental I shall see you every day. (On Bertie, reacting.) Actor Material MONTAGE Token Relational (Many different sessions, many different days, all in the consultation room.) (CU of Bertie‟s mouth. Humming.) Behaver Behavioural LIONEL Behaver Behavioural Hum for as long as you like. Hmmmmmmmmmm. Sayer Verbal And when you‟re ready, “Mother”. Value Relational BERTIE Sayer Verbal Hmmmmmmmmmmmmmother.

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LIONEL Beaut. LIONEL Behaver Behavioural A simple outward breath. “FFFFFather”. Sayer Verbal “FFFFF” Wait for the “aa”. Sayer Verbal Just slide into it. Actor Material BERTIE Sayer Verbal FFFFFFFFFFFFather. LIONEL Senser Mental Feel the loosening of the jaw (Bertie and Lionel both have their individual hands Range Material clasped and are shaking them, Actor Material vibrating their chest Actor Material and loosening their jaw. Actor Material As their jaws wobble, Actor Material they omit a vibrating sound.) Actor Material BERTIE Sayer Verbal Ahahahahhahahahahahahahahahahahah. LIONEL Behaver Behavioural (at the same time Ahahahahahahahahahahahahahahaha, (Bertie lies on the floor) Actor Material LIONEL Behaver Behavioural Deep breath. Expand your chest... Beneficiary Material lift your diaphragm... Beneficiary Material allow the column of air into your stomach... Beneficiary Material How do you feel? Senser Mental BERTIE Token Relational Full of hot air. LIONEL Value Relational Isn‟t that what public speaking is all about? (Bertie inhales deeply.) Behaver Behavioural (Some fast cuts. Token Relational Lionel handing him a cup of tea. Actor Material Bertie doing slow breathing exercises. Actor Material Bertie shouting something in frustration.) Sayer Verbal BERTIE Actor Material I will never get that. LIONEL Actor Material Yes you can, come on, come on. (Bertie‟s on the floor again.) Carrier Relational LIONEL Behaver Behavioural Deep breath. Hold. (He turns to Elizabeth.) Actor Material LIONEL (CONT’D) Token Relational

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Now Ma‟am, while you are here, Token Relational you could again be of great assistance. Token Relational If you‟d kindly sit on your husband‟s stomach. Actor Material ELIZABETH Sayer Verbal Oh yes? LIONEL Goal Material Gently of course. (Elizabeth sits gingerly on Bertie‟s stomach, Actor Material asking solicitously: ) Sayer Verbal ELIZABETH Value Relational Are you alright, Bertie? (Bertie nods.) Behaver Behavioural

LIONEL Behaver Behavioral Now exhale slowly...... can you feel that resistance, Bertie? Senser Mental Down goes your Royal Highness... Actor Material inhale slowly Behaver Behavioural and...up comes your Royal Highness. Actor Material Exhale and down. Actor Material Yes. Inhale and up. Actor Material You get the idea. Actor Material ELIZABETH Value Relational This is actually quite good fun, Bertie. LIONEL Goal Material Do it at home. Doesn‟t have to be you, Goal Material of course, but I thought Senser Mental he‟d prefer you to one of the staff. Actor Material (Lionel encourages Bertie to move Senser Mental as he reads a joke out.) Actor Material LIONEL (CONT’D) Actor Material Move, rock back and forth on the balls of your feet, keep the movement continuous and flowing. Actor Material (Bertie stands framed by the open window.) Actor Material LIONEL (CONT’D) Senser Mental I want you to release the five vowel sounds, each to last no less than 15 seconds. Token Relational BERTIE Sayer Verbal Aaaaaaaaaaaaaaaaaaaaaaa... LIONEL Actor Material (tapping him on the diaphragm)

Let‟s connect the toned diaphragm with your relaxed Actor Material throat.

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Ma‟am, would you be so kind as to be the timekeeper? Token Relational (Lionel hands her a stop watch.) Actor Material

BERTIE Sayer Verbal ....aaaaaaaaaaaaaaaaaaaaaaa..... (High up in the wall at the back of the building, Token Relational a Harley Street physician peers out the window.) Behaver Behavioural LIONEL Actor Material Anyone who can vibrate loudly in full view of the world can learn to give a speech. Senser Mental ELIZABETH Value Relational That‟s right, Bertie. (checking watch) Actor Material Now Token Relational Eeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee... Sayer Verbal (Lionel joins in.) Actor Material LIONEL Sayer Verbal Eeeeeeeeeeeeeeeeeeeee..... BERTIE Sayer Verbal Eeeeeeeeeeeeeeeeeeeee..... (The sound of “eeee” becomes the roar of machinery) Goal Material

TABLE 1.3 IDEATIONAL METAFUNCTION : part 4 int. logue‟s consultation room – continuous Clause Semantic Transitivity Function Process

LIONEL Senser Mental Do you feel like working today? (Bertie notices the plane Actor Material left behind by Logue‟s sons.) Beneficiary Material BERTIE Token Relational A Curtis bi-plane. LOGUE Actor Material I‟ll put on some hot milk. BERTIE Actor Material Logue, I‟d kill for something stronger. LIONEL Value Relational I wasn‟t there for my father‟s death. Still makes me sad. Range Material BERTIE Senser Mental I can imagine so. (Lionel passes Bertie a brandy.) Actor Material BERTIE (CONT’D) Actor Material What did you father do? LIONEL Token Relational

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A brewer. BERTIE Sayer Verbal Oh. LIONEL Token Relational At least there was free beer. (Pause.) - Circumstantial LIONEL (CONT’D) Token Relational Here‟s to the memory of your father. (They sit.) Actor Material BERTIE Receiver Verbal I was informed, after the fact, my father‟s last words were: Token Relational “Bertie has more guts Range Material than the rest of his brothers put together.” Beneficiary Material He couldn‟t say that to my face. Sayer Verbal (Silence.) - Circumstantial BERTIE (CONT’D) Behaver Behavioural (blurts) My brother. That‟s why Attributive Relational I‟m here. Token Relational LIONEL Actor Material What‟s he done? BERTIE Sayer Verbal Can‟t say. I can‟t puh-puh-puh... Actor Material (His jaw and throat muscles constrict.) Actor Material LIONEL Actor Material Try singing it. BERTIE Actor Material Pardon? LIONEL Senser Mental Know any songs? BERTIE Token Relational Songs? LIONEL Token Relational Yes songs. BERTIE Token Relational “Swanee River”. LIONEL Senser Mental I love that song. BERTIE Senser Mental Happens to be my favorite. LIONEL Actor Material Sing it then. Give me the chorus. Actor Material BERTIE Sayer Verbal No.

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Certainly not. Value Relational (fascinated by the plane) Beneficiary Material Always wanted Senser Mental to build models. Actor Material Father wouldn‟t allow it. Actor Material He collected stamps. Actor Material I had to collect stamps. Actor Material LIONEL Actor Material You can finish that off. (Bertie eagerly reaches for some balsa.) Actor Material LIONEL (CONT’D) Actor Material If you sing. (to “Swanee River”) Token Relational “When I was a boy with David... Token Relational upon the Swanee River.” Token Relational BERTIE Actor Material I can‟t sit here singing! LIONEL Actor Material You can with me. BERTIE Value Relational Because you‟re peculiar. LIONEL Senser Mental I take that as a compliment. BERTIE Actor Material I‟m not crooning “Swanee River!” LIONEL Actor Material Try “Camptown Races” then. (sings) Actor Material “My brother D, Token Relational he said to me, Sayer Verbal doodah doo-dah...” Sayer Verbal Continuous sound will give you flow. Goal Material Does it feel strange, Senser Mental now that David‟s on the throne? Token Relational BERTIE Value Relational It was a relief... Knowing I wouldn‟t be King. Senser Mental (Reaches into his jacket for his cigarette case. Actor Material

Then remembers, Senser Mental puts it away.) Actor Material LIONEL Actor Material But unless he produces an heir, you‟re next in line. Token Relational And your daughter, Elizabeth, would then Goal Material succeed you. BERTIE Actor Material

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“You‟re barking up the wrong tree now, Doctor, Doctor.” LIONEL Token Relational “Lionel, Lionel.” You didn‟t stammer. Behaver Behavioural BERTIE Behaver Behavioural Of course I didn‟t stammer, I was singing! Actor Material (realises) Oh... Senser Mental LIONEL Token Relational Well, as a little reward, you get to put some glue on these struts. Actor Material BERTIE Value Relational David and I were very close. Young bucks... Token Relational You know. Senser Mental LIONEL Actor Material Chase the same girls? BERTIE Value Relational David was always very helpful in arranging introductions. Token Relational We shared the expert ministrations of “Paulette” Actor Material in Paris. Not at the Token Relational same time of course. (An uncomfortable silence. - Circumstantial Too much has been said.) Sayer Verbal LIONEL Actor Material Did David tease you? BERTIE Actor Material They all did. “Buh-buh-buh-Bertie”. Sayer Verbal Father encouraged it. Senser Mental “Get it out, boy!” Goal Material Said Sayer Verbal it would make me stop. Range Material Said... Sayer Verbal ”I was afraid of my father, Value Relational and my children are damn well going to be afraid Value Relational of me”. (Lionel has been watching Bertie Behaver Behavioural work on the model.) Actor Material LIONEL Token Relational Naturally right handed? BERTIE Token Relational Left. I was punished. Goal Material

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Now I use the right. Senser Mental LIONEL Value Relational Yes, that‟s very common with stammerers. Token Relational Anything other corrections? Token Relational BERTIE Token Relational Knock knees. (Lionel waits.) Actor Material BERTIE (CONT’D) Goal Material Metal splints were made... worn night and day. Goal Material LIONEL Value Relational That must have been painful. BERTIE Value Relational Bloody agony. Straight legs now. Token Relational LIONEL Token Relational Who were you closest to in your family? BERTIE Token Relational Nannies. Not my first nanny, though.. Token Relational she loved David... Senser Mental hated me. Senser Mental When I was presented to my parents Goal Material for the daily viewing, Token Relational she‟d... Actor Material (The stammering produced by the memory Goal Material halts him.) Goal Material LIONEL Actor Material Sing it. BERTIE - Circumstance (tunelessly) “She pinch me Actor Material so I‟d cry, Behaver Behavioural and be sent away at once, Goal Material then she wouldn‟t feed me, Actor Material far far away.” - Circumstance (speaks) Sayer Verbal Took three years Goal Material for my parents to notice. Senser Mental As you can imagine, Senser Mental it caused some stomach problems. Actor Material Still. Value Relational LIONEL Token Relational What about your brother Johnnie? Were you close to him? Value Relational BERTIE Token Relational

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Sweet boy.

Epilepsy... Attributive Relational and...he was ‟different‟. Value Relational (MORE) - - Died at 13, Actor Material hidden from view. Goal Material Too embarrassing for the family. Senser Mental (nervous) Senser Mental I‟ve been told Receiver Verbal it‟s not catching. Senser Mental LIONEL Senser Mental Do you want a top-up? BERTIE Sayer Verbal Please. (Lionel gets up Actor Material to pour another drink.) Actor Material BERTIE (CONT’D) Senser Mental You know, Lionel, you‟re the first ordinary Englishman... Token Relational LIONEL Token Relational Australian. BERTIE Sayer Verbal ...I‟ve ever really spoken to. Sometimes, when I ride through the streets Actor Material and see, Senser Mental you know, Senser Mental the Common Man staring at me, Behaver Behavioural I‟m struck Value Relational by how little I know of his life, Senser Mental and how little he knows of mine. Senser Mental LIONEL Token Relational What‟re friends for. BERTIE Senser Mental I wouldn‟t know.

TABLE 1.4 IDEATIONAL METAFUNCTION : part 6 int. logue‟s consultation room, harley street - new day Clause Semantic Transitivity Function Process (Bertie stands shattered, Actor Material lost in painful memory.) Senser Mental BERTIE Token Relational All that work, down the drain. Token Relational My own brother... Token Relational

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I couldn‟t say... Sayer Verbal I could say... Sayer Verbal I couldn‟t say a word Sayer Verbal in reply! Token Relational LIONEL Behaver Behavioural Why do you stammer more with David than you do with me? Actor Material BERTIE Beneficiary Material Because you‟re bloody well paid to listen! Actor Material (The latter, angry, Value Relational sentence is flawless.) Token Relational LIONEL Token Relational I‟m not a geisha girl. BERTIE Sayer Verbal Stop trying to be so bloody clever! Value Relational LIONEL Token Relational What is it about David that stops you Actor Material speaking? Sayer Verbal BERTIE Value Relational What the bloody hell is it that makes you bloody well Actor Material want to go on about David? Actor Material LIONEL Value Relational Vulgar but fluent. You don‟t stammer Behaver Behavioural when you swear. Sayer Verbal BERTIE Sayer Verbal Bugger off! LIONEL Value Relational Is that the best you can do? Actor Material BERTIE Actor Material Well bloody bugger to you, you beastly bastard. Token Relational LIONEL Actor Material A public school prig can do better than that. BERTIE Sayer Verbal Shit then. Shit, shit, shit! LIONEL Goal Material See how defecation flows trippingly from the tongue? BERTIE Value Relational Because I‟m angry! LIONEL Senser Mental

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Ah. Know the f-word? BERTIE Token Relational Fornication? LIONEL Token Relational Bertie. (Lionel gives him a look.) Range Material BERTIE Sayer Verbal Fuck. Fuck, fuck, fuck! LIONEL Sayer Verbal Yes! You see! Senser Mental Not a hesitation! Token Relational BERTIE Sayer Verbal Bloody, bloody, bloody! Shit, shit, shit! Sayer Verbal Bugger, bugger, bugger! Sayer Verbal Fuck, fuck, fuck! Sayer Verbal (A knocking on the wall.) Actor Material ANTONY (O.S.) Actor Material Dad? What‟s going on? LIONEL Actor Material (calls) Sorry. Sayer Verbal Finish your homework. Goal Material (Bertie laughs.) Bahaver Behavioural LIONEL (CONT’D) Token Relational Well that‟s a side of you we don‟t get Actor Material to see that often. Senser Mental BERTIE Sayer Verbal No. No we‟re not supposed to really, Actor Material not publicly. Token Relational LIONEL Actor Material Can‟t joke, can‟t laugh? Behaver Behavioural (then referring to Antony Actor Material on the other side of the wall) Token Relational Let‟s get some air. Actor Material BERTIE Sayer Verbal No Logue, I don‟t think Senser Mental that‟s a good idea. Value Relational (Lionel throws him his hat and scarf.) Actor Material LIONEL Actor Material Put on your spy clobber.

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TABLE 1.5 IDEATIONAL METAFUNCTION : part 7 ext. regent‟s park ornamental garden – day Clause Semantic Transitivity Function Process (Bertie and Logue come Actor Material into view talking. Sayer Verbal Bertie with his homburg pulled low, scarf Actor Material wrapped high. The park is empty and bleak on this winter‟s Attributive Relational day. One can feel the cold chill; Senser Mental puffs of steam punctuating their words Actor Material like smoke signals.) Token Relational LIONEL Value Relational What‟s wrong? What‟s got you so upset? Goal Material BERTIE Actor Material Logue, you have no idea.

My brother is infatuated with a woman Value Relational who‟s been married twice - Actor Material and she‟s American. Attributive Relational LIONEL Value Relational Some of them must be loveable. BERTIE Behaver Behavioural (shoots him a look) She‟s asking for a divorce Sayer Verbal and David is determined Senser Mental to marry her. Actor Material Mrs Wallis Simpson of Baltimore. Token Relational LIONEL Value Relational That‟s not right. Queen Wallis of Baltimore? Attributive Relational BERTIE Value Relational Unthinkable. LIONEL Actor Material Can he do that? BERTIE Value Relational Absolutely not. But he‟s going to anyway. Actor Material All hell‟s broken loose. Value Relational LIONEL Actor Material Can‟t they carry on privately? BERTIE Actor Material If only they would. LIONEL Actor Material Where does that leave you?

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BERTIE Senser Mental I know my place! I‟ll do anything within my power Actor Material to keep my brother on the throne. Actor Material LIONEL Actor Material Has it come to that? But the way things are going, Goal Material your place may be on the throne. Phenomenon Relational BERTIE Token Relational I am not an alternative to my brother. LIONEL Actor Material If you had to you could outshine David... Actor Material (Lionel reaches out Actor Material and gives Bertie Range Material a pat of comfort Token Relational on the shoulder.) Token Relational (Bertie pulls back Actor Material in offended shock.) Attributive Relational BERTIE Actor Material Don‟t take liberties! That‟s bordering on treason. Goal Material LIONEL Sayer Verbal I‟m just saying you could be King. Token Relational You could do it! Actor Material BERTIE Token Relational That is treason! (They face each other, Actor Material as though in combat.) - Circumstantial LIONEL Actor Material I‟m trying to get you to realise Senser Mental you need not be governed by fear. Senser Mental BERTIE Value Relational I‟ve had enough of this! LIONEL Value Material What‟re you afraid of? BERTIE Token Relational Your poisonous words! LIONEL Actor Material Why‟d you show up then? To take polite elocution lessons Actor Material so you can chit-chat Actor Material at posh tea parties? - Circumstance BERTIE Beneficiary Material Don‟t instruct me the son of a King...

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on my duties! Attributive Relational I‟m the brother of a King... Token Relational we have a history Senser Mental that goes back untold centuries. Actor Material You‟re the disappointing son of a brewer! Token Relational (MORE) A jumped-up jackeroo from the Attributive Relational outback! You‟re nobody. Token Relational These sessions are over! Token Relational (Bertie strides off in a fury. Actor Material

Lionel, equally angry, Value Relational goes in the other direction. Actor Material Two men moving apart Actor Material in the cold wintery landscape, - Circumstantial the ground mist rising. Goal Material Then Lionel stops. Actor Material Turns.) Actor Material (POV - Bertie has disappeared from view. Actor Material CLOSE ON LIONEL Token Relational as he realises... Senser Mental he‟s no longer therapist to a man Token Relational who might have to become King.) Phenomenon Mental

TABLE 1.6 IDEATIONAL METAFUNCTION : part 13. int. westminster abbey - that night Clause Semantic Transitivity Function Process Footsteps resonate. Actor Material Lionel enters. Actor Material Ahead, he sees Cosmo Lang Senser Mental quietly conferring with Bertie. Actor Material As Lionel approached, Actor Material Cosmo Lang slips away. Actor Material LIONEL Senser Mental I can‟t believe Everything alright? Value Relational I‟m walking on Chaucer Actor Material and Handel and Dickens. Token Relational Let‟s get cracking. Actor Material (Bertie, seated on a ceremonial chair, Actor Material does not rise.) Actor Material BERTIE Token Relational I‟m not here to rehearse, Doctor Logue. (Pause-) - Circumstantial

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BERTIE (CONT’D) Goal Material True, you never called yourself „Doctor‟. I did that for you. Actor Material (MORE) No diploma, no training, no Attributive Relational qualifications. Just a great deal of nerve. Value Relational LIONEL Goal Material Ah, the star chamber inquisition, is it? Value Relational BERTIE Sayer Verbal You asked for trust and total equality. Value Relational LIONEL Behaver Behavioural I heard you. Bertie, I heard you at Wembley, Behaver Behavioural I was there. Token Relational My son Laurie said Sayer Verbal “Do you think Senser Mental you could help that poor man?” Actor Material I replied Sayer Verbal “If I had the chance”. Phenomenon Mental BERTIE Token Relational What, as a failed actor!? LIONEL Token Relational It‟s true, I‟m not a doctor, Token Relational and yes I acted a bit, Actor Material recited in pubs Actor Material and taught elocution in schools. Actor Material When the Great War came, Actor Material our boys were pouring back from the front, Actor Material shell-shocked Token Relational and unable to speak Token Relational and somebody said, Sayer Verbal “Lionel, you‟re very good Value Relational at all this speech stuff. Token Relational Do you think Senser Mental you could possibly help these poor buggers”. Actor Material I did muscle therapy, exercise, relaxation, Actor Material but I knew Senser Mental I had to go deeper. Actor Material Those poor young blokes had cried out in fear, Actor Material and no-one was listening to them. Behaver Behavioural My job was to give them faith Token Relational in their voice Token Relational and let them know Senser Mental

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that a friend was listening. Actor Material That must ring a few bells Actor Material with you, Bertie. Token Relational BERTIE Actor Material You give a very noble account of yourself. LIONEL Actor Material Make inquiries. It‟s all true. Value Relational BERTIE Goal Material Inquiries have been made! You have no idea Senser Mental who I have breathing down my neck. Behaver Behavioural I vouched for you Actor Material and you have no credentials. Senser Relational LIONEL Token Relational But lots of success! I can‟t show you a certificate Actor Material - there was no training then. Token Relational All I know Senser Mental I know by experience, Senser Mental and that war was some experience. Token Relational May plaque says, Sayer Verbal „L. Logue, Speech Defects‟. Attributive Relational No Dr., Attributive Relational no letters after my name. Attributive Relational (with mock seriousness) Attributive Relational Lock me in the Tower. Actor Material BERTIE Actor Material I would if I could! Actor Material LIONEL Token Relational On what charge? BERTIE Value Relational Fraud! With war looming, Token Relational you‟ve saddle this nation Actor Material with a voiceless King. Token Relational Destroyed the happiness of my family... Actor Material all for the sake of ensnaring a star patient Actor Material you knew Senser Mental you couldn‟t possibly assist! Actor Material His desperation spills out. Actor Material He pulls himself out the chair, Actor Material striding past Lionel. Actor Material BERTIE (CONT’D) Token Relational It‟ll be like mad King George the Third, there‟ll be Mad King George the Stammerer, Existent Existential

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who let his people down so badly Actor Material in their hour of need! Token Relational Lionel sits down Actor Material on the chair of Edward the Confessor. Token Relational BERTIE (CONT’D) Actor Material What‟re you doing? Get up! Actor Material You can‟t sit there! Actor Material (Overlapping-) - Circumstantial LIONEL Token Relational Why not? It‟s a chair. Token Relational BERTIE Sayer Verbal No, it‟s not, Value Relational that is Saint Edward‟s Chair- Token Relational LIONEL Actor Material People have carved their initials into it! BERTIE Token Relational That chair is the seat on which every King and Queen- Token Relational LIONEL Goal Material It‟s held in place by a large rock! BERTIE Token Relational That is the Stone of Scone, you are trivialising everything- Actor Material LIONEL Senser Mental I don‟t care. I don‟t care Senser Mental how many Royal arses have sat in this chair- Actor Material (Overlapping-) - Circumstantial BERTIE Beneficiary Material Listen to me... ! LIONEL Goal Material Listen to you?! By what right? Value Relational BERTIE Value Relational Divine right, if you must! Actor Material I‟m your King!!! Token Relational LIONEL Token Relational Noooo you‟re not! Told me so yourself. Beneficiary Material Said Sayer Verbal you didn‟t want it. Senser Mental So why should I waste my time Actor Material listening to you? Goal Material

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BERTIE Senser Mental Because I have a right to be heard! Behaver Behavioural LIONEL Behaver Behavioural Heard as what?! BERTIE Token Relational A man! I HAVE A VOICE!!! Phenomenon Mental LIONEL - Circumstantial (quietly) Yes you do. Actor Material You have such perseverance, Bertie, Phenomenon Mental you‟re the bravest man Value Relational I know. Senser Mental And you‟ll make a bloody good king. Actor Material (Bertie stares at him. Bahaver Behavioural A familiar voice is heard from the shadows.) Phenomenon Relational VOICE Actor Material What on earth‟s going on, Sir? BERTIE Value Relational It‟s all right, Archbishop. The Archbishop of Canterbury. Token Relational COSMO LANG Senser Mental Mr Logue, you should know that I have found a replacement Phenomenon Mental English specialist with impeccable credentials. Token Relational Hence, your services will no longer be required. Goal Material BERTIE Sayer Verbal I‟m sorry? COSMO LANG Value Relational Your Majesty‟s function is to consult and be advised. Beneficiary Material You didn‟t consult, Actor Material but you‟ve just been advised. Beneficiary Material BERTIE Actor Material Now I advise you: I will make my own decision. Actor Material in this personal matter Token Relational COSMO LANG Value Relational My concern is for the head upon which I must place the crown. Actor Material BERTIE Senser Mental I appreciate that Archbishop, but it‟s my head! Token Relational COSMO LANG Token Relational Your humble servant. (Lang turns on his heel Actor Material

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and is gone, Actor Material leaving Bertie shaken, Actor Material with both anger, and fear.) Senser Mental LIONEL Sayer Verbal Thank you Bertie. Shall we rehearse? Actor Material (Bertie sits in the ceremonial chair once more.) Actor Material LIONEL (CONT’D) - Circumstantial As soon as you and Elizabeth enter the West door, Actor Material you‟ll be greeted Goal Material with the hymn Token Relational “I Was Glad Value Relational When They Said Unto Me.” Sayer Verbal You won‟t actually be that glad, Senser Mental because they sing it Actor Material for a great long time. Value Relational Then your friend the Archbishop will ponce up Actor Material and say, Sayer Verbal “Sir, is Your Majesty willing to take The Oath?” Actor Material You say.. Sayer Verbal BERTIE Actor Material “I am willing”. LIONEL Value Relational Course you are! I‟ll see Behaver Behavioural what it sounds like Actor Material from the cheap seats Token Relational so even your old nanny can hear. Behaver Behavioural “Will you govern your peoples of Great Britain, Actor Material Ireland, Canada, Australia and New Zealand according to their lands and customs?” Token Relational BERTIE Senser Mental "I solemnly promise so do so." LIONEL Token Relational LOUDER! I can‟t hear you up the back. Behaver Behavioural BERTIE Senser Mental “I SOLEMNLY PROMISE TO DO SO!” LIONEL Value Relational Very good! "Will you to your power cause Law and Justice, Actor Material in Mercy, - Circumstantial to be executed in all your judgements?" Beneficiary Material BERTIE Actor Material "I will." “I WILL!” Actor Material

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LIONEL Token Relational Then a long bit about upholding the faith, rubbish, Token Relational rubbish, Token Relational rubbish. Token Relational To which you finally say... Sayer Verbal BERTIE Token Relational “These things which I have here before promised, Senser Mental I will perform Actor Material and keep. Actor Material So help me God.” Actor Material LIONEL Sayer Verbal That‟s all you have to say. Four short responses, Token Relational kiss the book Actor Material and sign the oath. Actor Material There you are: Existent Existential you‟re King. Token Relational Easy. Value Relational (The faint CLICKING WHIR of a film projector Token Relational is heard.)

TABLE 1.7 IDEATIONAL METAFUNCTION : part 14. int. bertie‟s study, buckingham palace – day Clause Semantic Transitivity Function Process (Bertie (dressed in his naval uniform) Attributive Relational and Logue (dressed in black tie) Attributive Relational are rehearsing.) Actor Material BERTIE Behaver Behavioural (stammering very badly) “There may be dark days ahead, Existent Existential and w-w-wa...” Existent Existential LIONEL Senser Mental Try again. BERTIE Existent Existential “There may be dark days ahead, and w-... ” Token Relational LIONEL Senser Mental Turn the hesitations into pauses, and say to yourself, Sayer Verbal “God save the King”. Actor Material BERTIE Sayer Verbal I say that continually, but apparently no one‟s listening. Behaver Behavioural

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LIONEL Actor Material Long pauses are good: they add solemnity to great occasions. Actor Material BERTIE Token Relational Then I‟m the solemnest king who ever lived. Actor Material Lionel, I can‟t do this! Actor Material LIONEL Actor Material Bertie, you can do this! BERTIE Token Relational If I am to be King... where is my power? Token Relational May I form a Government, Actor Material levy a tax or declare a war? Token Relational No! Sayer Verbal Yet I am the seat of all authority. Token Relational Why? Value Relational Because the Nation believes Senser Mental when I speak, Sayer Verbal I speak for them. Sayer Verbal Yet I cannot speak! Sayer Verbal As though none of this had happened: Actor Material LIONEL Actor Material Let‟s take it from the top. “In this grave hour...” Token Relational BERTIE Senser Mental (hesitates, then) “In this grave hour Token Relational fuck fuck fuck Sayer Verbal perhaps the most fateful in our history bugger Value Relational shit shit Sayer Verbal (singing) Behaver Behavioural I send to every household of my p-p- Actor Material The letter„P‟ is always difficult. Value Relational LIONEL Actor Relational Bounce onto it „a-peoples both at home and‟ Token Relational BERTIE Token Relational “a-peoples both at home and overseas,...” LIONEL Token Relational Beaut. BERTIE Behaver Behavioural (singing) doodah “... this message, Token Relational doo-dah, Sayer Verbal spoken with the same depth of feeling... Actor Material for each one of you Token Relational

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as if I were to fuck shit bugger cross your Actor Material threshold .... and speak to you mmy - ...” Sayer Verbal LIONEL Token Relational In your head, now: “I have a right Phenomenon Mental to be bloody well heard!” Token Relational BERTIE Sayer Verbal Bloody well heard bloody well heard, Sayer Verbal bloody well heard myself! Sayer Verbal LIONEL Token Relational Now Waltz. Move! Actor Material Get continuous movement. Actor Material BERTIE Actor Material (waltzing and singing) “For the second time Value Relational in the lives of most of us Token Relational we are at wa - ...” Token Relational (Bertie jams Actor Material and comes to a halt.) Actor Material LIONEL - Circumstantial Pause. “we are...” Token Relational Take a pause. Actor Material BERTIE Actor Material I can‟t do this. LIONEL Actor Material Bertie, you can do it. Have a look at the last paragraph. Behaver Behavioural ELIZABETH Token Relational Bertie... it‟s time. Token Relational Bertie and Lionel glance at each other. Behaver Behavioural Bertie approaches the door. Actor Material (He pauses. Actor Material Down a long perspective of rooms Token Relational we see ahead the waiting Behaver Behavioural microphone. Like a tunnel. Token Relational Like Wembley. Token Relational Bertie begins the long walk, Actor Material flanked by his wife Beneficiary Material and his speech specialist.) Token Relational

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TABLE 1.8 IDEATIONAL METAFUNCTION : part 16. int. broadcasting booth – day Clause Semantic Transitivity Function Process (The dreaded BBC microphone, Token Relational in a surprisingly small room. Token Relational It is arranged Goal Material so Bertie can stand up Actor Material as he speaks, Sayer Verbal the way Logue likes it. Senser Mental The ceiling has been lowered Goal Material and it has been decorated in cheerful colours. Goal Material As a podium for the speech Token Relational an old school desk has been propped up Goal Material on wooden blocks Token Relational so it‟s the right height for Bertie. Attributive Relational Logue immediately opens the window Actor Material to get the air circulating. Range Material Bertie says nothing, Sayer Verbal but goes up Actor Material and inspects the looming microphone. Actor Material He spreads the fingers of one hand, Actor Material touches the apparatus with the little finger, Behaver Behavioural thumb to chin.) Behaver Behavioural BERTIE Token Relational I am thistle sifter, I have a sieve of sifted thistles Actor Material and a sieve on unsifted thistles.. Token Relational ELIZABETH Actor Material Bertie, darling, make sure it‟s not switched on! LIONEL Senser Mental Remember the red light will blink three times and then I‟ve asked them Sayer Verbal to turn it off, Goal Material because we don‟t want that evil eye Senser Mental staring at you all the way through. Behaver Behavioural ELIZABETH Value Relational I am sure you will be splendid. Senser Mental WOOD Token Relational One minute, sir. (Elizabeth steps back Behaver Behavioural with a wonderful smile Attributive Relational as Wood closes the door, Actor Material sealing Bertie and Logue in the booth.) Actor Material BERTIE Goal Material No matter how this turns out,

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I don‟t know Senser Mental how to thank you Sayer Verbal for what you‟ve done. Actor Material LIONEL Attributive Relational Knighthood? (They smile.) Behaver Behavioural WOOD (O.S.) Token Relational Twenty seconds. LIONEL Senser Mental Forget everything else and just say it to me. Sayer Verbal Say it to me, as a friend. Sayer Verbal (The red light in the booth flashes. Goal Material The red light flashes for the second time. Goal Material Bertie concentrates. Senser Mental The red light flashes for the third time. Goal Material The red light now goes steady red. Goal Material Lionel opens his arms wide and mouths,) Actor Material “Breathe!”. Behaver Behavioural (On Air.) - Circumstantial (Bertie‟s hands begin to shake, Senser Mental the pages of his speech rattle Goal Material like dry leaves, Value Relational his throat muscles constrict, Goal Material the Adam‟s apple bulges, Goal Material his lips tighten... Behaver Behavioural all the old symptoms reappear. Goal Material Several seconds have elapsed. Value Relational It seems an eternity.) Phenomenon Mental

TABLE 1.9 IDEATIONAL METAFUNCTION : part 17. int. king‟s study/broadcast room, buckingham palace – day Clause Semantic Transitivity Function Process (The tension is more than palpable. Value Relational Bertie and Logue stare at each other. Behaver Behavioural Logue smiles, Behaver Behavioural perfectly calm, Behaver Behavioural totally confident in the man Value Relational he‟s worked with. Beneficiary Material

His confidence is contagious. Value Relational

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Bertie takes a deep breath, Actor Material lets it out slowly. Actor Material

His throat muscles relax, Senser Mental his hands steady - Senser Mental all the things he‟s practiced.) Actor Material

BERTIE Token Relational

In this grave hour, perhaps the most fateful in our history, Value Relational

I send to every household of my peoples, Actor Material both at home and overseas Token Relational this message spoken with the same depth of Goal Material feeling for each one of you Token Relational as if I were able Token Relational to cross your threshold Actor Material and speak to you myself. stop. Sayer Verbal

His cadence is slow Value Relational and measured, Goal Material not flawless, Value Relational but he does not Actor Material

TABLE 1.10 IDEATIONAL METAFUNCTION: part 18. int./ext. montage of various locations Clause Semantic Transitivity Function Process (The assembled dignitaries at Buckingham - Circumstance Palace, Myrtle with two of the boys, Attributive Relational

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people listening to radios in homes, pubs, Actor Material factories. A group of soldiers, including Antony Logue. Token Relational Queen Mary sitting in her State Apartments, Actor Material David and Wallis listening dolefully in a villa in Actor Material the South of France, the crowds assembled outside Buckingham Actor Material Palace, listening on loud speakers. Actor Material Cutting continually back to Bertie Actor Material as he grows in confidence) Actor Material

BERTIE (V.O. ON RADIO) - Circumstances For the second time in the lives of most of us we are at war. Token Relational (MORE) Over and over again we have tried to Actor Material find a peaceful way out of the differences between ourselves and those who are now our Token Relational enemies. But it has been in vain. Value Relational We have been forced into a conflict. Beneficiary Material For we are called, with our allies, Beneficiary Material to meet the challenge of a principle which, Actor Material if it were to prevail, Value Relational would be fatal to any civilized order in the Value Relational world. Such a principle, stripped of all disguise, - Circumstance is surely the mere primitive doctrine Value Relational that might is right. Value Relational For the sake of all that we ourselves hold dear, Actor Material and of the world‟s order and peace, - Circumstance it is unthinkable Value Relational that we should refuse to meet the challenge. Actor Material

It is to this high purpose Attributive Relational that I now call my people at home and my Actor Material peoples across the seas, who will make our cause their own. Actor Material I ask them to stand calm and firm, Sayer Verbal and united in this time of trial. Actor Material The task will be hard. Value Relational

There may be dark days ahead, Value Relational and war can no longer be confined to the Goal Material battlefield. But we can only do the right as we see the right Actor Material

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and reverently commit our cause to God. Actor Material

TABLE 1.11 IDEATIONAL METAFUNCTION : part 19. int. broadcasting booth, buckingham palace – continuous Clause Semantic Transitivity Function Process (Bertie, in his quiet way is totally in command, Value Relational and utterly magnificent. Value Relational Everyone in the room is awed Value Relational as he concludes) Senser Mental

BERTIE (CONT’D) Actor Material If one and all we keep resolutely faithful to it, then, with God‟s help, - Circumstance we shall prevail. Actor Material

TABLE 1.12 IDEATIONAL METAFUNCTION : part 21. int. broadcasting booth, buckingham palace – continuous Clause Semantic Transitivity Function Process (Lionel and Bertie stare at each other.) Behaver Behavioural BERTIE (V.O. ON RADIO) (CONT'D) Behaver Behavioural (Silence.) LIONEL Value Relational That was very good, Bertie. Lionel closes the window. Actor Material

LIONEL (CONT’D) Behaver Behavioural You still stammered on the “w”. BERTIE Actor Material Had to throw in a few so they knew it was me. Senser Mental

(Wood opens the door.) Actor Material

WOOD Sayer Verbal Congratulations, your Majesty. A true broadcaster. Attributive Relational

BERTIE Sayer Verbal Thank you, Mr Wood. (Bertie and Lionel pass out of the booth to the Actor Material sounds of applause. They pause at the desk, Actor Material

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which is set up with a microphone. Goal Material

Bertie sits Actor Material and has his official photograph taken.) Goal Material

LIONEL Token Relational Your first war time speech. Congratulations. Sayer Verbal

BERTIE Actor Material Expect I shall have to do a great deal more. Thank you, Logue. Sayer Verbal

Bertie stands and takes Lionel‟s hand Actor Material

BERTIE (CONT’D) Sayer Verbal Thank you. My friend. LIONEL Sayer Verbal Thank you... Your Majesty.

APPENDIX 2 INTERPERSONAL FUNCTION

TABLE 2.1 INTERPERSONAL FUNCTION: part 1 int. logue‟s consultation room - day Sentences Textual Interpers Theme Mood Theme onal Selection Theme LIONEL: He‟s a good lad, Willy. - - Unmarked Declarative : positive He could hardly make a sound, - - Unmarked Declarative : positive you know, - - Unmarked Declarative :Positive when he first came to me. + - Unmarked Declarativ: positive (Lionel catches Bertie staring at the - - Unmarked - airplanes.) LIONEL (CONT’D) : My boys Unmarked Declarative made those. : positive Good, aren‟t they. - - Marked Interrogativ e: yes/no Please, make yourself comfortable - - Marked Imperative: positive (Bertie sits uneasily on an armchair. - - Unmarked - Lionel goes to sit at a distance.) - - Unmarked -

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LIONEL (CONT’D) : I was told - - Unmarked Declarative not not to sit too close. : negative (Bertie remains silent.) - - Unmarked - LIONEL (CONT’D) : I was also - - Unmarked Declarative told, : positive speaking with a Royal, one waits for - - Marked Declarative the Royal to choose the topic. : positive BERTIE: Waiting for me to - - Marked Declarative commence a conversation one can : positive wait a rather long wait. (Although Bertie‟s stammer in the Left unanalyzed consultation room will fade, it is a gradual process.) (Silence.) Left unanalyzed - LIONEL: Know any jokes? - - Unmarked Interrogativ e: yes/no BERTIE: Timing isn‟t my strong - - Unmarked Declarative: suit. negative (Silence. They stare at each other.) - - Unmarked - LIONEL: Cuppa tea? - - Unmarked Interrogativ e: yes/no BERTIE: No thank you. + - Unmarked - LIONEL: I think - - Unmarked Declarative: positive I‟ll have one. - - Unmarked Declarative: positive (Turns on the hot plate.) - - Unmarked - BERTIE: Aren‟t you going to start - + Unmarked Interrogativ treating me Dr Logue? e: yes/no LIONEL: Only if you‟re interested + - Unmarked Declarative: in being treated. positive Please, call me Lionel. + + Marked Imperative: positive BERTIE: I prefer Doctor. - + Unmarked Declarative: positive LIONEL: I prefer Lionel. - + Unmarked Declarative: positive What‟ll I call you? - - Unmarked Interrogativ e: wh- question BERTIE: Your Royal Highness, - + Unmarked Declarative: positive then Sir after that. + + Unmarked Declarative: positive LIONEL: A bit formal for here. - - Unmarked Declarative: positive What about your name? - - Unmarked Interrogativ

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e: wh- question BERTIE: Prince Albert Frederick - + Unmarked Declarative: Arthur George? positive LIONEL: How about Bertie? - + Unmarked Interrogativ e BERTIE: (flushes) Only my family - - Unmarked Interrogativ uses that. e: positive LIONEL: Perfect. + - Unmarked - In here, it‟s better if we‟re equals. + - Marked Declarative BERTIE: If we were equal I + - Marked Declarative: wouldn‟t be here. positive I‟d be at home with my wife - - Unmarked Declarative: positive and no-one would give a damn. + - Unmarked Declarative: Positive (Bertie starts to light a cigarette - - Unmarked - from a silver case.) LIONEL: Don‟t do that. - - Marked Imperative : negative (Bertie gives him an astonished - - Unmarked - look.) BERTIE: I‟m sorry? + - Unmarked - LIONEL: Sucking smoke into your - - Marked Declarative: lungs will kill you. negative BERTIE: My physicians say it - - Unmarked Declarative: relaxes the throat. positive LIONEL: They‟re idiots. - - Unmarked Declarative: positive BERTIE: They‟ve all been - - Unmarked Declarative: knighted. positive LIONEL: Makes it official then. - - Unmarked Imperative: positive My „castle‟, my rules. - - Unmarked Declarative: positive What was your earliest memory? - - Unmarked Interrogativ e: wh- question BERTIE: What an earth do you - - Unmarked Interrogativ mean? e: wh- question LIONEL: First recollection. - - Unmarked Declarative BERTIE: (stammer growing in - - Unmarked Declarative: intensity) I‟m not here to discuss negative personal matters.

LIONEL: Why‟re you here then? - - Unmarked Interrogativ

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e: wh- question BERTIE: (exploding - stammer + - Unmarked Exclamatio free) Because I bloody well n stammer! LIONEL: Temper. - - Unmarked Declaration: positive BERTIE: One of my many faults. - - Unmarked Declarative: positive LIONEL: When did the defect - - Unmarked Interrogativ start? e: wh- question BERTIE: I‟ve always been this - - Unmarked Exclamatio way! n LIONEL: (quietly) I doubt that. - - Unmarked Declarative: positive BERTIE: Don‟t tell me! - - Marked Exclamatio n It‟s my defect! - - Unmarked Exclamatio n LIONEL: (calmly) It‟s my field. Declarative: positive I assure you, - - Unmarked Declarative: positive no infant starts to speak with a - - Marked Declarative: stammer. negative When did it start? - - Unmarked Interrogativ e: wh- question BERTIE: (annoyed) Four or five. - - Unmarked Declarative: positive LIONEL: That‟s typical. - - Unmarked Declarative: positive BERTIE: So I‟ve been told. + - Unmarked Declarative: positive (quickly adds) I can‟t remember not - - Unmarked Declarative: doing it. negative LIONEL: That I believe. + - Unmarked Declarative: positive Do you hesitate - - Unmarked Interrogativ e: yes/no when you think? + - Unmarked Declarative: positive BERTIE: Don‟t be ridiculous. - - Marked Imperative: negative LIONEL: One of my many faults. - - Marked Declarative: negative

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How about when you talk to - - Unmarked Interrogativ yourself? e (Bertie is silent.) - - Unmarked - LIONEL (CONT’D) : Everyone - + Unmarked Declarative: natters occasionally, Bertie. positive BERTIE: Stop calling me that! - - Unmarked Exclamatio n LIONEL: I‟m not going to call you - - Unmarked Declarative: anything else. negative BERTIE: Then we shan‟t speak! + - Unmarked Declarative: negative (Silence. Left unanalyzed

The kettle whistles. - - Unmarked - Lionel makes himself a cup of - - Unmarked - tea.) BERTIE (CONT’D) : Are you - + Unmarked Interrogativ charging for this, Doctor? e: yes/no LIONEL: A fortune. - - Unmarked Declarative: positive So, Bertie... + + Unmarked Declarative: positive when you talk to yourself, + - Marked Declarative do you - - Unmarked Interrogativ stammer? e: yes/no BERTIE: Of course not! - - Unmarked Exclamative LIONEL: Thus proving your + - Unmarked Declarative: impediment isn‟t a permanent part of negative you. What do you think was the cause? - - Unmarked Interrogativ e: wh- question BERTIE: I don‟t know! - - Unmarked Exclamatio n I don‟t care! - - Unmarked Exclamatio n I stammer. - - Unmarked Declaration: positive And no one can fix it. + - Unmarked Decalarativ e: negative LIONEL: Bet you, Bertie, - + Unmarked Imperative: positive you can read flawlessly, right here, - - Unmarked Declarative: right now. positive (Bertie snorts dismissively.) - - Unmarked - LIONEL (CONT’D) : And if I win, + - Marked Declarative: positive

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I get to ask questions. - - Unmarked Declarative: positive BERTIE: And if I win? + - Unmarked Interrogativ e: yes/no LIONEL: You don‟t have to - - Unmarked Declarative: answer. negative BERTIE: One usually wagers - - Unmarked Declaration: money. positive LIONEL: A bob each to sweeten it? - - Unmarked Interrogativ e: wh- question See your shilling. - - Unmarked Declarative: positive BERTIE: I don‟t carry cash. - - Unmarked Declarative: negative LIONEL: I had a funny feeling you - - Unmarked Declarative: mightn‟t. positive (Logue fishes two coins from his - - Unmarked - pocket and puts them on the table.) LIONEL (CONT’D) : Stake you. - - Unmarked Imperative: positive Pay me back next time. - - Unmarked Imperative: positive BERTIE: If there is a next time. + - Unmarked Declarative: positive LIONEL: (nods) I haven‟t agreed to - - Unmarked Declarative: take you on. negative (Logue has uncovered a piece of - - Unmarked - apparatus, a recording device with earphones. He sets a blank disc onto the - - Unmarked - turntable and positions a microphone, then hands Bertie an open book.) + - Unmarked - (Bertie glares at it defiantly.) - - Unmarked - BERTIE: I can‟t possibly read this. - - Unmarked Declarative: negative LIONEL: Then you owe me a + - Unmarked Declarative: shilling for not trying. negative (Furious, Bertie opens the book and - - Marked - reads, stammers badly and - - Unmarked - gets worse.) BERTIE: “To be or not to be, That - - Marked Declarative: is the question. positive Whether it is wiser...” - - Marked Declarative: positive

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There! + - Unmarked Exclamatio n (He hands the book back to Lionel.) - - Unmarked - BERTIE (CONT’D) : I can‟t read! - - Unmarked Exclamatio n LIONEL: I haven‟t finished yet. - - Unmarked Declaration: negative (Lionel returns the book to Bertie - - Unmarked - and turns to some recording apparatus on a nearby table.) LIONEL (CONT’D) : I‟m going to - - Unmarked Declarative: record your voice positive and then play it back to you on the + - Unmarked Declarative: same machine. positive This is brilliant. - - Unmarked Declarative: positive It‟s the latest thing from America: a - + Unmarked Declarative: Silvertone. positive (He hands Bertie a pair of heavily - - Unmarked - padded earphones. Bertie - - Unmarked - doesn‟t want to take them.) LIONEL (CONT’D) : There‟s a - + Unmarked Declarative: bob in this, mate. positive You can go home rich! - - Unmarked Declarative: positive (Bertie reluctantly puts them on. - - Unmarked - Logue turns a dial. - - Unmarked - LOUD - - Unmarked - MUSIC is heard. Bertie takes off the earphones. - - Unmarked - The music - - Unmarked - stops.) BERTIE: You‟re playing music. - - Unmarked Declarative: positive LIONEL: I know. - - Unmarked Declarative: positive BERTIE: How can I hear what I‟m - - Unmarked Interrogativ saying?! e: wh- question LIONEL: Surely a Prince‟s brain - + Marked Interrogativ knows what its mouth is doing? e: wh- question BERTIE: You‟re not well - - Unmarked Interrogativ acquainted with Royal Princes, are e: yes/no you? (Bertie replaces the earphones. - - Unmarked -

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Again, the LOUD MUSIC. + - Unmarked - His mouth moves as he reads, - - Unmarked - but all that can be heard is the + - Marked - music.) (Finished, Bertie takes off the - - Marked - earphones and the music ceases. Bertie reaches for the coins, - - Unmarked - but Logue snatches them.) + - Unmarked - BERTIE (CONT’D) : Hopeless. - - Unmarked Exclamatio Hopeless! n LIONEL: You were sublime. - - Unmarked Declarative: positive Would I lie to a prince of the realm - - Unmarked Interrogativ to win twelvepence? e: yes/no BERTIE: I‟ve no idea - - Unmarked Declarative: negative what an Australian might do for that - - Marked Imperative: sort of money. positive LIONEL: Shall I play it? - - Unmarked Interrogativ e: yes/no BERTIE: No. + - Unmarked - LIONEL: If you prefer, we‟ll just + - Marked Declarative: get on to the questions. positive BERTIE: Thank you Doctor, - + Unmarked - I don‟t feel this is for me. - - Unmarked Declarative: negative (He heads for the door. - - Unmarked - Logue puts the record in a brown - - Unmarked - paper dust jacket and hands it to Bertie.) LIONEL: Sir? - + Unmarked -

The recording is free. - - Unmarked Declarative: positive Please keep it as a souvenir? + - Marked Interrogativ e: yes/no (Lionel opens the door for Bertie - - Unmarked - and closes it behind him.)

TABLE 2.2 INTERPERSONAL FUNCTION: part 4 int. logue‟s consultation room – continuous Sentences Textual Interper Theme Mood Theme sonal Selection Theme LIONEL: Do you feel like working - - Unmarked Interrogative: today? yes/no

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(Bertie notices the plane left behind - - Unmarked - by Logue‟s sons.) BERTIE: A Curtis bi-plane. - - Unmarked Declarative: positive LOGUE: I‟ll put on some hot milk. - - Unmarked Declarative: positive BERTIE: Logue, I‟d kill for - + Marked Declarative: something stronger. positive LIONEL: I wasn‟t there for my - - Unmarked Declarative: father‟s death. negative Still makes me sad. - - Unmarked Declarative: positive BERTIE: I can imagine so. - - Unmarked Declarative: positive (Lionel passes Bertie a brandy.) - - Unmarked - BERTIE (CONT’D) : What did - - Unmarked Interrogative: you father do? wh- question LIONEL: A brewer. - - Unmarked Declarative: positive BERTIE: Oh. + - Unmarked - LIONEL: At least there was free + - Marked Declarative: beer. positive (Pause.) Left unanalyzed LIONEL (CONT’D) : Here‟s to the - - Unmarked Declarative: memory of your father. positive (They sit.) - - Unmarked - BERTIE: I was informed, - - Unmarked Declarative: positive after the fact, my father‟s last words + - Marked Declarative: were: positive “Bertie has more guts than the rest - - Unmarked Declarative: of his brothers put positive together. ”He couldn‟t say that to my face. - - Unmarked Declarative: negative (Silence.) Left unanalyzed BERTIE (CONT’D) : (blurts) My - - Unmarked Declarative: brother. positive That‟s why I‟m here. + - Marked Declarative: positive LIONEL: What‟s he done? - - Unmarked Interrogative: wh- question BERTIE: Can‟t say. - - Marked Declarative: negative I can‟t puh-puh-puh... - - Unmarked Declarative: negative (His jaw and throat muscles - - Unmarked -

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constrict.) LIONEL: Try singing it. - - Unmarked Imperative BERTIE: Pardon? + - Unmarked - LIONEL: Know any songs? - - Unmarked Interrogative: yes/no BERTIE: Songs? - - Unmarked Interrogative: wh- question LIONEL: Yes songs. + - Unmarked Declarative: positive BERTIE: “Swanee River”. - - Unmarked Declarative: positive LIONEL: I love that song. - - Unmarked Declarative: positive BERTIE: Happens to be my - - Unmarked Declarative: favorite. positive LIONEL: Sing it then. - - Unmarked Imperative: positive Give me the chorus. - - Unmarked Imperative: positive BERTIE: No. Certainly not. + - Unmarked Declaration: negative (fascinated by the plane) - - Unmarked - Always wanted to build models. + - Unmarked Declarative: positive Father wouldn‟t allow it. - - Unmarked Declarative: negative He collected stamps. - - Unmarked Declarative: positive I had to collect stamps. - - Unmarked Declarative: positive LIONEL: You can finish that off. - - Unmarked Declarative: positive (Bertie eagerly reaches for some - - Unmarked - balsa.) LIONEL (CONT’D) : If you sing. + - Unmarked Declarative: (to “Swanee River”) positive “When I was a boy with + - Marked Declarative: David...upon the Swanee River.” positive BERTIE: I can‟t sit here singing! - - Unmarked Exclamative LIONEL: You can with me. - - Unmarked Declarative: positive BERTIE: Because you‟re peculiar. + - Unmarked Declarative: positive LIONEL: I take that as a - - Unmarked Declarative: compliment. positive BERTIE: I‟m not crooning “Swanee - - Unmarked Declarative: River!” negative

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LIONEL: Try “Camptown Races” - - Unmarked Imperative: then. positive (sings) “My brother D, he said to - + Marked Declarative: me, positive doodah doo-dah...” + - Unmarked - Continuous sound will give you - - Unmarked Declarative: flow. positive Does it feel strange, - - Unmarked Interrogative: yes/no now that David‟s on the throne? + - Marked Interrogative: yes/no BERTIE: It was a relief... - - Unmarked Declarative: positive Knowing I wouldn‟t be King. - - Marked Declarative: negative (Reaches into his jacket for his - - Unmarked - cigarette case. Then remembers, puts it away. + - Marked - LIONEL: But unless he produces an + - Marked Declarative: heir, negative you‟re next in line. - - Unmarked Declarative: positive And your daughter, Elizabeth, + + Unmarked Declarative: would then succeed you. positive BERTIE: “You‟re barking up the - + Unmarked Declarative: wrong tree now, Doctor, Doctor.” positive LIONEL: “Lionel, Lionel.” - + Unmarked Declarative: positive You didn‟t stammer. - - Unmarked Declarative: negative BERTIE: Of course I didn‟t + - Unmarked Declarative: stammer, negative I was singing! - - Unmarked Declarative: positive (realises) - - Unmarked - Oh... + - Unmarked - LIONEL: Well, as a little reward, + - Marked Imperative: you get to put some glue on these positive struts. BERTIE: David and I were very - + Unmarked Declarative: close. positive Young bucks... - - Unmarked Declarative: positive You know. - - Unmarked Declarative: positive LIONEL: Chase the same girls? - - Marked Interrogative: yes/no

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BERTIE: David was always very - + Unmarked Declarative: helpful in arranging introductions. positive We shared the expert ministrations - - Unmarked Declarative: of “Paulette” in Paris. positive Not at the same time of course. - - Unmarked Declarative: negative (An uncomfortable silence. - - Unmarked - Too much has been said.) - - Unmarked - LIONEL: Did David tease you? - + Unmarked Interrogative: yes/no BERTIE: They all did. - - Unmarked Declarative: positive “Buh-buh-buh-Bertie”. + - Unmarked Declarative: positive Father encouraged it. - - Unmarked Declarative: positive “Get it out, boy!” - + Unmarked Imperative: Said - - Unmarked Declarative: positive it would make me stop. - - Unmarked Declarative: positive Said - - Unmarked Declarative: positive ...”I was afraid of my father, - - Unmarked Declarative: negative and my children are damn well + - Unmarked Declarative: going to be afraid of me”. negative (Lionel has been watching Bertie - - Unmarked - work on the model.) LIONEL: Naturally right handed? - - Marked Interrogative: yes/no BERTIE: Left. - - Unmarked Declarative: positive I was punished. - - Unmarked Declarative: positive Now I use the right. + - Unmarked Declarative: positive LIONEL: Yes, that‟s very common + + Unmarked Declarative: with stammerers. positive Anything other corrections? - - Marked Interrogative: yes/no BERTIE: Knock knees. - - Unmarked Declarative: positive (Lionel waits.) - - Unmarked - BERTIE (CONT’D) : Metal splints - - Unmarked Declarative: were made... positive worn night and day. - - Unmarked Declarative:

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positive LIONEL: That must have been - - Unmarked Declarative: painful. positive BERTIE: Bloody agony. - - Unmarked Declarative: positive Straight legs now. - - Unmarked Declarative: positive LIONEL: Who were you closest to - - Unmarked Interrogative: in your family? wh – question BERTIE: Nannies. - - Unmarked Declarative: positive Not my first nanny, though.. - - Unmarked Declarative: negative she loved David... - - Unmarked Declarative: positive hated me. - - Unmarked Declarative: negative When I was presented to my parents + - Marked Declarative: for the daily viewing, she‟d... positive (The stammering produced by the - - Unmarked - memory halts him.) LIONEL: Sing it. - - Unmarked Imperative: positive BERTIE: (tunelessly) “She pinch - - Unmarked Declarative: me so I‟d cry, positive and be sent away at once, + - Unmarked Declarative: positive then she wouldn‟t feed me, + - Unmarked Declarative: positive far far away.” - - Unmarked Declarative: positive (speaks) Took Three years for my - - Unmarked Declarative: parents to notice. positive As you can imagine, it caused some + - Marked Declaration:p stomach problems. ositive Still. - - Unmarked Declarative: positive LIONEL: What about your brother - - Unmarked Interrogative: Johnnie? wh- question Were you close to him? - - Unmarked Interrogative: yes/no BERTIE: Sweet boy. - - Unmarked Declarative: positive Epilepsy... - - Unmarked Declarative: positive and...he was ‟different‟. + - Unmarked Declarative:

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positive (MORE) Died at 13, hidden from - - Unmarked Declarative: view. positive Too embarrassing for the family. - - Unmarked Declarative: positive (nervous) I‟ve been told - - Unmarked Declarative: positive it‟s not catching. - - Unmarked Declarative: negative LIONEL: Do you want a top-up? - - Unmarked Interrogative: yes/no BERTIE: Please. - + Unmarked Declarative: positive (Lionel gets up to pour another - - Unmarked - drink.) BERTIE (CONT’D) : You know, - + Marked Declarative: Lionel, you‟re the first ordinary positive Englishman... LIONEL: Australian. - - Unmarked Declarative: positive BERTIE: ...I‟ve ever really spoken - - Unmarked Declarative: to. positive Sometimes, when I ride through the + - Marked Declarative: streets and see, positive you know, the Common Man staring + - Unmarked Declarative: at me, positive I‟m struck by how little I know of - - Unmarked Declarative: his life, positive and how little he + - Unmarked Declarative: knows of mine. positive LIONEL: What‟re friends for. - - Marked Imperative: positive BERTIE: I wouldn‟t know. - - Unmarked Declarative: negative