AN ANALYSIS OF LEXICAL COHESION ON JOHN CHEEVER’S THE

FIVE-FORTY EIGTH

A Thesis

Submitted to Letters and Humanities Faculty in Partial Fulfillment of the

Requirements for the Degree of Strata One (S1)

Nurul Ulya

1112026000078

ENGLISH LETTERS DEPARTMENT

LETTERS AND HUMANITIES FACULTY

STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH

JAKARTA

2017

i

ABSTRACT

Nurul Ulya, An Analysis of Lexical Cohesion on John Cheever’s The Five-Forty

Eight. Thesis: English Letters Department, Letters and Humanities Faculty, UIN

Syarif Hidayatullah Jakarta, 2017.

The research has two purposes, i.e. to know the kinds of lexical cohesions

and to explain how lexical cohesions make the narrative text, The Five-Forty

Eight, coherent. The data is taken from an anthology of John Cheever‘s short

stories, The Stories of John Cheever. The research uses qualitative method. The

story is analyzed using cohesion theory by Michael Halliday and Ruqaiya Hasan.

The result of the research shows that all lexical cohesion types, repetition,

synonymy, antonymy, meronymy, hyponymy and collocation, are found in the

text. Based on the analysis, the lexical cohesive ties in the text construct the unity

as well as the context in the text. In other words, the lexical cohesion makes the

text function in which it is embedded. It can be said that the lexical cohesions

create the coherence of the text.

Keywords: Lexical cohesion, unity, coherence, short story.

ii

iii

iv

DECLARATION

I hereby declare that this submission is my own work and that, to the best of my

knowledge and belief, it contains no material previously published or written by

another person nor material which to a substantial extent has been accepted for the

award of any other degree or diploma of the university or other institute of higher

learning, except where due acknowledgment has been made in the text.

Jakarta, February 2017

Nurul Ulya

v

ACKNOWLEDGMENT

In the name of Allah, the Beneficent, the Merciful.

All praise to Allah SWT, the Lord of the world, who has given us His

mercy and blessing. His guidance and aid lead me to finish this thesis. Shalawat

and salam always be upon to Prophet Muhammad SAW, his family, companions

and blessing.

In this occasion, the greatest gratitude is given to my beloved parents:

Sriwati and Hasan Bisri who always give their prayer, care and affection to me.

Then the deep and sincere gratitude and thankfulness are also expressed to:

1. Prof. Dr. Sukron Kamil, M.A., the dean of Faculty of Letters and

Humanities.

2. Dr. Saefudin, M.Pd., the head of English Letters Department.

3. Elve Oktafiyani M.Hum., the secretary of English Letters Department.

4. Alfi Syahriyani, M.Hum., the advisor, for her precious time, suggestion

and idea to guide me to write and complete this thesis

5. My family, my sisters and my brothers

6. All of the lecturers of English Letters Department for their valuable

knowledge

7. My best friends Girls Without Boys for their support

8. My best friends of Al-Hikmah Kajen the year of 2010 who always

motivate and entertain me

vi

9. My friends and my little sisters in Alphabet House who support and

bother me

10. The mood booster when I was down

11. All friends in English and Letters Department of the year 2012.

Finally, the writer would like to say thank you for everyone who might not

be mentioned one by one here. May Allah the Almighty bless them. The writer

realizes that this thesis is not perfect. Therefore, the writer welcomes to receive

the critic and suggestion for this thesis to be better. The writer hopes this thesis

will be useful, particularly for the writer and for those who are interested in this

field.

Jakarta, February 2017

The Writer

vii

LIST OF TABLE

Table 1: Illustration of Lexical Items Table................................................6

Table 2: Repetition Items...........................................................................23

Table 3: Synonymy Items..........................................................................28

Table 4: Antonymy Items..........................................................................30

Table 5: Meronymy Items.……...............................................................31

Table 6: Hyponymy Items..…..................................................................32

Table 7: Collocations................................................................................33

viii

TABLE OF CONTENT

ABSTRACT..............................................................................................................i

APPROVAL SHEET .............................................................................................. ii

LEGALIZATION...................................................................................................iii

DECLARATION…………………………………………………………............iv

ACKNOWLEDGMENT…………………………………………………............v

THE LIST OF TABLE…………………………………….......………………...vii

TABLE OF CONTENT…………………………………………………............viii

CHAPTER I INTRODUCTION………………………………………………….1

A. Background of the Study…………………………………………………1

B. Focus of the Study………………………………………………………..4

C. Research Questions..……………………………………………………..4

D. Objectives of Research...…………………………………………………4

E. Significance of the Study………………………………………………...4

F. Research Methodology……………………………………………….......5

1. Method of the Research...……………………………………………5

2. Technique of Data Collection and Data Analysis Technique……….5

3. Instrument of the Research…………………………………………..7

4. Unit of the Analysis……………………………………………….....7

ix

CHAPTER II THEORETICAL FRAMEWORK………………………………..8

A. Previous Research…………………………………………………………8

B. Discourse Analysis………………………………………………………10

1. Discourse…………………………………………………………….10

2. Discourse Analysis and Pragmatics...………………………………..10

C. Text………………………………………………………………………11

D. Coherence………………………………………………………………..12

E. Cohesion………………………………………………………………....14

F. Cohesive Devices………………………………………………………..15

1. Grammatical Cohesion……………………………………………....16

2. Lexical Cohesion…………………………………………………….17

G. Context…………………………………………………………………..27

CHAPTER III FINDINGS AND DATA ANALYSIS………………………...29

A. Data Description……………………………………………………….29

B. Data Analysis………………………………………………………….39

CHAPTER IV CONCLUSION AND SUGGESTION………………………..61

A. Conclusion…………………………………………………………......61

B. Suggestion……………………………………………………………..61

BIBLIOGRAPHY……………………………………………………………..63

APPENDIX.....………………………………………………………………...65

1

CHAPTER I

INTRODUCTION

A. Background of Study

Linguistics theory development has resulted text as a linguistics unit

of analysis. ‗Text can be anything from a momentary cry for help to an all-

day discussion‘. However, it should be noticed that text is a semantic unit of

meaning. It is a semantic edifice that is realized in one symbolic system

(Halliday and Hasan 2). So, a text is a word or sentences that are united

wholly.

In addition, Halliday considers text as form of social exchange of

meaning. When people produce text, they seem to arrange words or sentences

(11). In fact, they transfer meaning. They convince their idea to others

through this linguistic unit. Naturally, the idea, knowledge or anything people

attempt to share with others is to be understood by participants . To achieve

this successful communication, what speakers or writers say or write must

cohere; it hangs together (Halliday and Hasan 113).

―Coherence is realized in relation existing between parts‖ (Taboada

155). The content in discourse must be relevant to the situation in which it is

placed. They must match with itself and with context of situation (Halliday

48). In other words, discourse is stated coherent when the whole content of

discourse is relevant from the beginning to the end. It is also understandable

by the listeners or readers.

2

The construction of coherence can be achieved through cohesion. It is

a set of linguistic resources that every language has, for linking one part of a

text to another. These are the semantic relations that enable one part of the

text to function as the context for another (Halliday 48). It is realized in

linguistic features, that is lexico-grammatical features. It can be said that there

are two kinds of cohesion, that is grammatical and lexical cohesion.

However, this research only focuses on lexical cohesion because it has

contribution in making coherent text. It provides the relation between words

or sentences in the text so that the readers or listeners can easily understand

the text.

Discussion about lexical cohesion, it is interesting to analyze lexical

cohesion as a textual signal to coherence in fictive narrative text such as short

story. It is because cohesion shows relation from one word to another word in

order to make the text cohesive. This argument is strengthened by Alden J.

Moe who states that the more implicit the cohesive relationship is, the more

difficult the text is to be understood (19). So, to make the message in the

short story delivered clearly, it should be cohesive.

In this case, the short story which will be analyzed is from a prolific

writer, John Cheever, i.e. The Five-Forty Eight. This is one of his best short

stories in his anthology The Stories of John Cheever. This story represents the

characters of his that is the duality of human nature. In this story, Cheever

emerged two characters which embody bad and good characters. The bad

characters in the story are hurting people that is owned by Blake and anger

3

that is owned by Miss Dent. In the short story, it tells that Blake neglects and

fires Miss Dent after he sleeps with Miss Dent. Then, few months later, Miss

Dent comes to take revenge. Next, the good character is forgiving that is

owned by Miss Dent. Actually, Miss Dent will kill Blake, but she cancels her

willing and chooses to forgive him.

Furthermore, John Cheever uses a flashback in its plot. The roles of

lexical cohesions in the text help the readers to understand the plot of the

story. For further explanation, it can be seen in the following examples:

(1) He ordered a Gibson and shouldered his way in between two

other men at the bar, so that if she should be watching from the

window she should lose sight of him.

(2) Blake drank a second Gibson and saw by the clock that he had

missed the express.

The word Gibson in the example (1) is found in the first paragraph 5

and it is repeated in paragraph 10. Example (1) tells that he ordered a Gibson.

Then, paragraph 6, 7, 8 and 9 tell about the past event, that is about his

meeting with the girl until he spends a night with her. Afterwards, the words

Gibson is restated in paragraph 10 (example 2) to show that the plot of the

story has come back.

Based on the reasons above, the story is interesting to analyze

because it is assumed there are many repetitions and other lexical cohesions

4

that creating this interesting story in order to be coherent. Right or not this

assumption will be proved in this research.

B. Focus of the Study

The focus of the research is to identify the types of lexical cohesion

and to analyze how lexical cohesion creates coherence in John Cheever‘s The

Five-Forty Eight.

C. Research Questions

Accordance with the background of the study, the main problem of

this research is related to the application of lexical cohesion in the short story.

Thus, the research questions are:

1. What are lexical cohesive devices applied in John Cheever‘s The Five-

Forty-Eight?

2. How do the lexical cohesions create coherence in John Cheever‘s The

Five-Forty-Eight?

D. Objectives of Research

Based on the research questions, the purposes of this research are:

1. to identify lexical cohesion applied in John Cheever‘s The Five-Forty-

Eight

2. to explain how lexical cohesions create coherence in John Cheever‘s The

Five-Forty-Eight.

E. Significance of the Study

Theoretically, this research is expected to be useful to enrich the

previous studies in linguistics about discourse analysis, especially cohesion

5

and coherence anlysis. This research is also exepected to be beneficial for

referent or comparison for the next study. So, it will give the next researchers

some ideas to improve research on cohesion and coherence.

Practically, it is expected to be beneficial for linguistics students,

linguists and other experts to know about cohesion and coherence especially

in short story related to the flow of the plot and the story.

F. Research Methodology

1. Method of the Research

This research uses qualitative method in analysis of lexical

cohesion on John Cheever‘s The Five-Forty-Eight. Qualitative research is

an inquiry that the data collection process result in open-ended, non-

numerical data, and analyzed primarily by non-statistical method

(Dӧrnyei 24). The research is in Discourse Analysis field using Halliday

and Hasan‘s cohesion combining with Brian Paltridge. The data is a short

story, The Five-Forty Eight, from The Stories of John Cheever.

2. Techniques of data collection and data analysis

This research uses bibliography technique to collect data.

Bibliography technique means using written sources to get data. Written

sources are chosen which describe synchronic language use (Subroto 5).

The collecting data follows these steps:

1. Identifying data which is restricted for the goal of the research. The

goal of the research is to analyze lexical cohesion in the short story.

The data is taken from The Stories of John Cheever. Then the content

6

is read to be understood, and choose one interesting story that is The

Five-Forty Eight.

2. Reducing the data that is not necessary. After the story is chosen as

data, the unnecessary data is reduced. The analyzed data is only the

paragraphs that involve Blake and Mrs. Dent. Then it is derived thirty

two paragraphs.

After data is collected, the next process is analyzing data. The steps of

the proccess are:

1. dividing texts into sentences

2. identifying the lexical cohesive devices

3. classifying the data based on the lexical cohesion types

4. putting the data into the data cards which contain sentence number,

sentence, ties and lexical cohesion items

Table 1: Illustration of Lexical Item Table

Sentence

Number

Text Ties Lexical

Cohesion Items

5. then representing the findings of the analysis in descriptive

explanation. In explaining the findings, coding is used to show the

position of the data. For example:

The thought of this, and a whiff of sugary warmth from the

coffee ring, cheered him (P.4/S.45).

7

P. is abbreviation of paragraph, showing the position of the

sentence in paragraph. Meanwhile S. is abbreviation of sentence in

the text. So, (P.4/S.45) means the data is in paragraph 4 and

sentence 45.

3. Instrument of the Research

The instrument of this research to get the data is the writer. The

writer selects one short story. Then, she collects the data and analyzes it.

The last, she presents in descriptive explanation.

4. Unit of Analysis

The analyzed data is lexical cohesion in The Five-Forty-Eight story

by John Cheever. The data is taken from The Stories of John Cheever, an

anthology of John Cheever‘s short stories. There are forty one paragraphs

in the story, but the unit of analysis is limited on the paragraphs that tell

about both Blake and Miss Dent. There are thirty two from forty one

paragraphs that involve Blake and Miss Dent.

8

CHAPTER II

THEORETICAL FRAMEWORK

A. Previous Study

Several studies have similar topic to this research. They are used as

reference in analyzing cohesion in this research. To begin with, Zubairu

Malah‘s study in Research Journal of English Language and Literature

entitles Lexical Cohesion in Academic Discourse: Exploring Applied

Linguistics Research Articles Abstract. He analyzed lexical cohesion types,

its frequencies and its contribution to coherence of abstracts. Then, the

research used quantitative and qualitative method. The result of the research

shows that the percentage of repetition use is 54%, of collocation use is 14%

and of hyponymy use is 11% and those lexical devices contribute to the

propositional development of all the move structures. It is different from this

research in unit, method and purpose of the study. The unit analysis of this

research is short story, the method is only qualitative and the purpose is not to

identify the frequencies of cohesive items.

The second research comes from Paul A. Crane under the tittle

Texture in Text: A Discourse Analysis of a News Article Using Halliday and

Hasan’s Model of Cohesion. Crane studied grammatical and lexical cohesion

put forth by Halliday and Hasan (1976) and Bloor and Bloor (1995) in news

week article. The findings show cohesion as linkage elements in the text

within sentence or paragraph.

9

The third research is a study on narrative texts in Kompas short story

anthology. The study by Dumaria Simanjuntak is to analyse cohesion

markers, the dominant reference markers and the form of reference of the

third personal pronoun in the discourse. The findings show that all cohesion

markers both grammatical and lexical are used in the text, and they make a

text coherent. The dominant third personal pronoun is her/his. There are some

differences between Dumaria‘s study and this study. The first, this study is

limited on the lexical cohesion. The second, the data is also different. The

data used in this study is Cheever‘s The Five-Forty Eight. Meanwhile, the

data in the previous study is Kompas short stories.

The fourth study is Asri Sukowati‘s work entitling Cohesion Analysis

of Crime NewsTexts in New York Daily News and The Village Voice. She

analyzed two articles from crime feature in online mass media. The result

shows that there are 43 items of grammatical cohesion devices in New York

Daily News and 78 items in article from The Village Voice. Meanwhile, there

are 20 items lexical cohesion devices in New York Daily News article and 44

lexical device items in The Village Voice article. The research is different

from this research in the data and purpose.

Overall, the differences among the researches above are not only on

the data resource but also the purpose of the research. The first research is to

identify the frequency of lexical cohesions occurrence, the third study is to

identify the dominant pronoun of third person, and this research is to identify

the type of lexical cohesion and how it creates coherence.

10

B. Discourse Analysis

1. Disourse

Discourse is the way of combining and integrating language, actions,

interactions, and ways of thinking, believing, and valuing by using various

symbols, tools, and objects to enact a particular sort of socially recognizable

identity (Gee and Handford 21).

2. Discourse Analysis and Pragmatics

Discourse analysis is a study of meaning on the use of language and the

action when language is used in specific context. It has similarity to

pragmatics. Both are the approaches to studying language‘s relation to the

contextual background features. Both study context, text and function. First,

Both pragmatics and discourse analysis study the meaning of words in

context, analysing the parts of meaning that can be explained by knowledge

of the physical and social world, and the socio-psychological factors

influencing communication, as well as the knowledge of the time and place

in which the words are uttered or written (Cutting 1-2).

The second, pragmatics and discourse analysis study text. They

concentrate on how stretches of language become meaningful and unified for

their users. Discourse analysis calls it coherence; pragmatics calls it

relevance. Finally, pragmatics and discourse analysis concern with function

that is they study the speakers‘ short-term purposes in speaking, and long-

term goals in interacting verbally (Cutting 2).

11

Furthermore, discourse analysis also covers the study of text. This view

considers that text is synonymous with discourse. Then, the analysis sees text

as language element strung together in relationship with one another to create

meaning (McCharty 6).

The relationship makes discourse understandable and is requirement

to be text. It is the most salient phenomenon of discourse and two concepts,

cohesion and coherence, are used referring to the relationship.

Sometimes, discourse analysis is also defined as the study of language

above sentence level (Gee and Harold 1). Further, Stubbs defined that it

concerns the interrelationship between language and society, and concerns the

interactive or dialogic properties of everyday communication (Slembrouck 1).

In other words, the study is not restricted on morphem or word or sentence

level. This view is on the base that discourse gives attention to the study of

connected sentences or utterances and the interrelation between language and

its external factors.

C. Text

Text is a unit of language in use. Some researchers such as Stubbs and

Chafe viewed text as unit of language in use that larger than sentence

(Widdowson 5-6). On the contrary, Halliday and Hasan do not restrict the

size. They used it to refer to any passage of language of whatever lengths that

forms a unified whole (1). Another definition in agreement with this

statement comes from Lyons. According to him, text is made up of a

sequence of sentence, sentence-fragments and ready-made locutions that is

12

connected in some contextual way (263). So, text is any language in use that

is connected in some contextual way.

Text is semantic unit of meaning coded in lexico-grammatical system

(Halliday and Hasan 2). In linguistic system, meaning is expressed in lexico-

grammatical features. It can be sound or writing. So, a word, a sentence, or

sentences are representation of text.

Then, the meaning in the text must show unity. This unity is the

character of text that distinguishes it from what is not text. It is a text when

the meaning is contingent between parts, if not it is only a stretch of sentences

(Halliday and Hasan 2). At the same time, language in use is called text when

it becomes functional. Functional means that language takes its role in some

context in which it is placed. It is opposed to isolated words or sentences.

(Halliday 10).

D. Coherence

A text is characterized by coherence; it hangs together (Halliday 48).

Coherence means that the meaning of sentences in text are interrelated and

make sense (McCharty 26). Furthermore, Teun A. van Dijk stated coherence

is achieved when the propositions expressed by composite sentences or

sequences of sentences are inter-related (95). According to Lyons, coherence

is viewed from relatedness of content. A strecth of sentences is coherent when

the content of text connects one another. What is stated in any one text-unit is

relevant to what has been stated in the preceding text unit (264).

13

Halliday and Hasan describe coherence as ‗a unity of meaning in

context‘. The meaning in a text relates as a whole to the environment in

which it is placed (293).

One of the important resources of coherence is cohesion (Halliday and

Hasan 20). Cohesion provides continuity as well as context in the text.

Cohesion provides continuity between one part of the text and another. The

relation that cohesion expresses dealing with what has gone before. The point

of this contact shows that there are some entity or some circumstance, some

relevant feature or some threads of argument persist from one moment to

another in the semantic process, when the meanings unfold. This continuity is

not the whole of coherence but it adds further element that must be present in

order for the discourse come to life as text (Halliday and Hasan 299).

Furthermore, this continuity serves cohesion as context in interpreting

text (Halliday and Hasan 299). It is semantic relation which cohesion

expresses between parts that enable one part of text to function as context.

The preceding element is present as an environment for the following element

and this sets up internal expectation. Then this internal expectation is matched

up with the expectation, the listener or reader brings from the external source,

from the context of situation and of culture (Halliday 48). In other words, the

parts of text is coherence when it can be interpreted successfully in particular

context (Taboada 158).

14

E. Cohesion

Halliday and Hasan have much attention to cohesion. In their work

Cohesion in English, they define it explicitly. To begin with, cohesion is

meaning relations which can connect between parts of the text (26). Cohesion

arises when the interpretation of elements in text relates to another element.

The one functions as presupposing item to the other in making sense of the

interpretation. This occurrence establishes a cohesive relation and the relation

constitutes a tie, i.e. a term for one occurrence of two cohesively related

elements, the presupposing and the presupposed items (Halliday and Hasan 3-

4).

The following example provides the presence of a cohesive relation and

a tie.

(3) Wash and core six cooking apples. Put them into a fireproof dish.

In the example (3), the interpretation of them in second sentence needs

to recourse to something other than itself. It is clear that them refers back to

the six cooking apples in the first sentence. This anaphoric function of them

sets cohesive relation. Then the relation constitutes a tie (Halliday and Hasan

4).

The tie shows essential role of cohesion. It concerns with how the

text is constructed as semantic edifice (Hasan 73). In building a semantic unit,

cohesion shows the continuity of meaning that exists between parts. The

relation that cohesion expresses in the text shows the continuity of meaning in

the text in the point of contact with what has gone before: that some entity or

15

some circumstance, some relevant feature or some thread of argument persists

from one moment to another in semantic process, as the meaning unfold

(Halliday and Hasan 299). For example:

(4) Wash and core six cooking apples. Put the apples into a fireproof

dish.

In the example (4), there is just one tie between the apples and six

cooking apples. The repetition relates two separated sentences – the

repetition of apples relates first sentence and second sentence. So, the

sentences are related because there is a continuity of idea in the sentences that

is apples. Therefore, the idea in the text can be understood that after the

apples are washed and cored, the next step is put the apples into a fireproof

dish.

Cohesion is considered as semantic relation, it is expressed through

the stratal organization of language. As mentioned in the discussion of text,

meaning is coded in wording; means the choice lexicogrammatical form.

Then, wording is expressed through sound or writing (Halliday and Hasan 5).

F. Cohesion Devices

Based on Halliday and Hasan, cohesion is expressed by grammar and

vocabulary. The former is called grammatical cohesion, and it has four

devices; reference, substitution, ellipsis and conjunction. The later is called

lexical cohesive, and it has five devices; repetition, synonymy, general words,

superordinate and collocation (6).

16

1. Grammatical Cohesion

Under the notion of grammatical cohesion there are reference,

substitution, ellipsis and conjunction. The first device is reference. It is ‗the

specific nature of information that is signaled for retrieval‘. The retrieved

information is the same thing in the text that comes in a second time. There

are two kinds of reference; endophoric and exophhoric reference.

Endhophoric reference or endophora is reference referring to a thing as

identified in the context of situation while endophora or endophoric is

reference referring to thing as identified in the surrounding text (Halliday and

Hasan 31-32).

The next grammatical cohesion item is substitution. It is a relation

between linguistics items when one linguistics item is used to substitute and

point to another linguistic item not to its referents. Substitution comes in

three kinds: nominal, verbal or clausal depending on the item being

substituted. In addition to grammatical cohesion is ellipsis. It essentially has

the same process as substitution; replacing items. However, ellipsis does not

have something to substitute another word or sentence. Therefore, it is

called zero substitution (Taboada 162).

The last grammatical cohesive is conjunction. Conjunction shows

relationship which indicates how subsequent sentence or clause should be

link to the preceding or following sentence (Renkema 114). Conjunction

does not achieve cohesiveness by itself. Yet, the cohesion lies on meaning

17

expressed by conjunctive elements which connect between preceding and

following element in the text (Halliday and Hasan 227). However, in this

study the grammatical cohesion devices are not analyzed because the study

focuses on the lexical cohesion devices.

2. Lexical Cohesion

Lexical cohesion is the cohesive effect achieved by the selection of

vocabulary (Halliday and Hasan 274). Lexical cohesion refers to

relationship in meaning between lexical items in a text and, in particular,

content words and the relationship between them (Paltridge 133). The

principle behind this lexical type is the cohesive effect achieved by the

continuity of lexical meaning (Halliday and Hasan 320).

According to Halliday and Hasan, there are two classification of

lexical cohesions;

1. Reitereation

Reiteration is lexical cohesion which takes place through repetition of

identical lexical items or occurrence of a different lexical item that

systematically related to the first one. Reiteration is divided into four kinds;

a). Repetition

Repetition means restating the same unit that has been mentioned

before in a text (Halliday and Hasan 278). Repetition can be word or

words that are restated in the same sentence or different sentence or

different paragraph. For example:

(5) I turned to the ascent of the peak. The ascent is perfectly easy.

18

The ascent in the first sentence and second sentence are repetition.

Those two lexical items whose interpretation in the instance shows

identical with that of earlier lexical item to which they are related.

Based on the place of words, phrases or clauses, repetition can be

divided into eight (Sumarlam, 35). They are:

1). Epizeuxis is repetition of word or words which happen several

times repeatedly. For example:

(6) Impossible! Impossible! Amos must be wrong.

The word impossible in the line aboveis repeated in one line

successively.

2). Tautotes is repetition of words for several times in the text

(Sumarlam, 36). For example:

(7) In times like this, it is helpful to remember that there will be

times like this.

In the above example, the phrase in the first sentence, times like

this, is repeated in the last sentence.

3). Anaphora is repetition of first word or phrase in every following

line or sentence. It usually happens on poem or prose. For example:

(8) It is not lust,

It is not face,

It is not body,

I love you because of yourself

It is not in the poem is repeated two times in the first line. The

repetition like this is called anaphora.

19

4). Mesodiplosis is repetition of words in the middle of line or sentence

for many times. For example:

(9) Small employee is forbidden to steal carbon paper

Servant is forbidden to steal chicken bone

Functionary is forbidden to steal gasoline

Forbidden in the text is repeated in the middle of line for several

times.

5). Episthrophe is repetition of word or words in the end of line or

sentence. For example:

(10) ―I hate being called a killer. I am not a killer.‖

6). Symploce is repetition of word or words at the beginning and at the

end of line or sentence for several times. For example:

(11) You say life is nothing. I don’t care

You say life is useless. I don’t care

7). Epanalepsis is repetition of word or words, which the words in the

first sentence repeated in the last sentence. For example:

(12) Nothing can be created out of nothing.

8). Anadiplosis is repetition of word or phrase in the last line becoming

the word or phrase in first next line. For example:

(13) In life, there‘s aim

Aim is achieved with struggle

Struggle is supported with pray

Every last word in the above poem is repeated in the first sentence

of the next line. They are aim is positioned in the last sentence of line 1

and it is repeated in the first line of line 2 and struggle in the last

sentence of line 2 is repeated in the first sentence of line 3.

20

b). Synonymy

Synonymy occurs when a lexical item has identical meaning with

another lexical item. For example:

(14) Most of the way I sank waist deep, almost out of sight in

some places. After spending the whole day to within half an

hour or so of sundown, I was still several hundred feet below

the summit. Then my hopes were reduced to getting up in

time to see the sunset.

Sunset and sundown are near-synonyms, sunset referring to a

particular event considered as perceptual phenomenon, and sundown

referring to the same event considered as defining a moment in time.

This lexical devices contributes to cohesiveness of the text.

c). Superordinate

Superordinate is a name for a more general class (Halliday and

Hasan 278). Cohesion can be achieved through relation between

general class and sub-class. For example:

(15) Henry bought himself a Jaguar. He practically lives in the

car.

Car refers back to Jaguar. Car is a superordinate of Jaguar – that is a

name for general class. This relation can contribute to the cohesiveness

of text.

d). General Word

General word refers to major classes of lexical items. It is such as

thing, person, make, do and so on. General words can function

cohesively only when they are nouns and when it is used in the context

of reference that is when it has the same referent as it whatever it is

21

presupposing, and when it is accompanied by a reference item. For

example:

(16) There‘s a boy climbing the old elm. That old thing isn‘t very

safe.

Thing is a very general word and in this sentence thing becomes

general word for elm. So, the word thing in the sentence can give

cohesive effect and relates sentences in the text.

2. Collocation

Collocation is lexical cohesion that is achieved through the association

of lexical items that regularly co-occur. It also includes pairs of words

drawn from the same ordered series such as colours, numbers, months, days

of weeks and the like (Halliday and Hasan 285). For instance, if Tuesday

occurs in one sentence and Thursday in another, the effect will be cohesive.

Besides that, collocation involves unordered lexical sets, like

basement ... roof, red ... green. A part to part that is used adjacently is

included as well. Collocation can also be co-hyponyms of the same

superordinate term, both members of the same more general class such as

chair…table (both hyponyms of furniture) (Halliday and Hasan 285).

According to Brian Paltridge lexical cohesion is classified into six

kinds (133). They are:

1. Repetition

Repetition means restating the same unit that has been mentioned

before in a text (Paltridge 133). For example:

22

(17) A conference will be held on national environmental policy. At

this conference the issue of salination will play an important role.

The important word in the text is repeated. The word conference is

mentioned in the second sentence after it is mentioned previously.

2. Synonymy or near-synonymy

Synonymy refers to words which are similar in meaning (Paltridge 134;

Lyons 60). It is another way to make text coherent. Synonyms are used in

the text to avoid repeating the same words for many times because in

English it is not good to repeat the words continuously. The example of

synonymy can be seen as follows:

(18) ―I‘am just not one of those blokes that finds approaching women

easy. The book assumes all men are confident, or that if they

really like a girl, they‘ll overcome their shyness. The opposite is

true.‖

Both blokes and men are referring to the same concept, i.e. male, but

they are stated in different words. Those words are used to make the

vocabularies various.

3. Antonymy

Antonymy describes opposite or contrastive meanings (Paltridge 134).

Using the two words near each other obviously enables the write to express

a contrast, but it also contributes to cohesion of the text (Salkie 23). For

instance:

(19) The old movies just don‘t do it anymore. The new ones are more

appealing

23

The words old and new are antonyms because they have opposite

meaning. Their relation in the text is called antonymy and it can contribute

to make text cohesion and coherent

4. Meronymy

Meronymy is where lexical items are in a whole-part relationship with

each other. As a result, Brian Paltridge states meronymy as lexical

taxonomy in the form of composition (135). For further explanation, see the

following example:

(20) At its six-month checkup, the brakes had to be repaired. In

general, however, the car was in good condition.

Brakes are parts of car. This whole-part relation is called meronymy

and it can give cohesiveness to the text. Car in the text units the idea in the

text when the sentence tells about the car generally.

5. Hyponymy

Hyponymy refers to classes of lexical items where the relationship

between them is one of ‗general-specific‘, ‗an example of‘ or in a ‗class to

member‘ type relationship (Paltridge 135). The general word is called

superordinate, and the more specific one is called a hyponym. For example:

(21) Brazil, with its two-crop economy, was even more severely hit by

the Depression than other Latin American states and the country

was on the verge of complete collapse.

The link here is between Brazil and country. Brazil is a specific

instance of general word country.

24

6. Collocation

Collocation describes associations between vocabulary items which

have tendency to co-occur, such as combinations of adjectives and nouns, as

in real-estate agent (Paltridge 137). For example in the sentence below:

(22) Sarah Hughes, 21, a real-estate agent, agrees that Aussie men

need more help than most when it comes to romance.

According to Paltridge, real-estate agent is collocation because it is a

combination of noun and adjective that is commonly used in English.

From the synthesis theory between Halliday and Hasan‘s cohesion

theory and Brian Paltridge‘s theory, it is derived the types of lexical

cohesion used in the analysis as follows:

1. Repetition

Repetition means restating the same unit that has been mentioned

before in a text. The form of repetition can emerge in identical item or

another different one with more or less information. The restated items can

be a word, a phrase or a sentence (Taboada 171). For example:

(23) I turned to the ascent of the peak. The ascent is perfectly easy.

The ascent in the first sentence and second sentence are repetition.

Those two lexical items whose interpretation in the instance shows identical

with that of earlier lexical item to which they are related.

2. Synonymy or Near-synonymy

Synonymy refers to words which are similar in meaning. Near-

synonymy is lexical item that is more or less similar as another, but not

identical, in meaning (Lyons 60). For example:

25

(24) Miss Dent‘s cloth was thin cloth, he saw, and she wore gloves and

carried a large pocketbook. She opened her purse and reached

for her handkerchief.

The word pocketbook refers back to purse, which is synonym because both

have meaning ―small bag‖. Synonymy is used to avoid repeating the same

words in order to make the story interesting. It also contributes to

coherence.

3. Antonymy

Antonymy describes opposite or contrastive meanings (Paltridge 134).

Using the two words near each other obviously enables the write to express

a contrast, but it also contributes to cohesion of the text (Salkie 23). For

example:

(25) The old movies just don‘t do it anymore. The new ones are more

appealing

The words old and new are antonyms because they have opposite

meaning. Their relation in the text is called antonymy and it can contribute

to make text cohesion and coherent

4. Meronymy

The term meronymy refers to a part – whole relation as in the case of

tree, limb and root. Limb and root are co-meronyms, naming parts of

superordinate tree (Hasan 81). For example:

(26) Blake ordered a Gibson and shouldered his way in between two

other men at the bar, so that if she should be watching from the

window she would lose her sight.

26

Window in the text is part of bar. Therefore, the relation is called

meronymy. Further, the word window in the text relates the idea about bar

and it makes the text united.

5. Hyponymy

Hyponymy is a relation that holds between a general class and its sub-

classes. The item referring to the general class is called superordinate; those

referring to its sub-classes are known as its hyponym (Hasan 80). For

example:

(27) Henry bought himself a Jaguar. He practically lives in the car.

Car refers back to Jaguar. Car is a superordinate of Jaguar – that is a

name for general class.

6. Collocation

Collocation refers to the relationship between words on the basis of the

fact that these often occur in the same surroundings. Some examples are

sheep and wool, congress and politician (Renkerma 105). For example:

(28) Red Cross helicopters were in the air continuously. The blood

bank will soon be desperately in need of donors.

Red cross, blood and donors are in the same field that is health. When

those words come together in a text, they are called collocation. Collocation

is one of devices that contribute to coherence.

A lexical item coheres by itself; it does not depend on the relation of

referent. Whether or not there is referential relation it still gives cohesion

effect. However, the second occurrence may concern with reference. As far

27

as reference is concerned, it may be (a) identical; having the same referent

to the first item, (b) inclusive; including the first item and others as well, (c)

exclusive; excluding the previous item or (d) unrelated; not having relation

at all to the previous item (Halliday and Hasan 283).

G. Context

Context is an important notion for understanding language-in-use (Gee

100) and text is language-in-use. So, the study of text cannot separate from

the study of context. The reason is that context gives message something

works in function. In this occurrence context can function as giving true

pragmatic meaning of utterance (Mey 41). Moreover, it assists the

participants to understand the linguistic expression in communication (Mey

39).

To understand text, it is necessary as well to understand what means by

context. The term context denotes the environment of discourse; it might be

the situation of discourse or the surrounding element in text. The situation of

text is well-known as social context. It is divided into context of situation and

context of culture. Then, another is well-known as co-text, that is verbal

context or textual environment as opposed to social context or pragmatic

context. The instance of co-text is a word, a phrase, a sentence or a paragraph

(Renkema 45).

According to Malinowski, there are two kinds of context; context of

situation and context of culture. Context of situation is the total environment

28

involving not only the situation in which the text is placed but also the verbal

environment of text. The verbal environment can be the sentences before and

after the particular sentence that one was looking at (Halliday 6).

Another context by Malinowski is context of culture. The concept is

broader than just actual circumstance. It includes the total cultural

background behind the participants, and behind the act that they are engaging

in (Halliday 6).

29

CHAPTER III

FINDINGS AND DATA ANALYSIS

A. Data Description

In this chapter, the data is analyzed to identify the lexical cohesive

devices and to explain their roles in creating coherence of the short story

based on the context. In this study the short story used as data is divided into

paragraphs that consist of sentences. Each sentence is numbered to ease the

analysis. In the analysis, the data is coded according to the position of

paragraph and of sentence in the text. For example:

The thought of this, and a whiff of sugary warmth from the coffee

ring, cheered him (P.4/S.45).

P. is abbreviation of paragraph, showing the position of the sentence

in paragraph. Meanwhile S. is abbreviation of sentence in the text. So,

(P.4/S.45) means the data is in paragraph 4 and sentence 45 Lexical.

Table 2: Repetition Items

Sentence

Number

Text Ties Lexical

Cohesion Items

12 It had been raining all day, and he

noticed now how much louder the

rain made the noises of the street.

1 rain

16-17 He wondered what she hoped to gain

by a glimpse of him coming out of

the office building at the end of the

day. Then he wondered if she was

following

1 wondered

30

18-20 Walking in the city, we seldom turn

and look back. The habit restrained

Blake. He listened for a minute –

foolishly – as he walked, as if he

could distinguish her footsteps from

the worlds of sound in the city at the

end of a rainy day.

3 walking, city, at

the end of rainy

day

23 & 25 Blake stopped opposite here and

looked into a store window. The

window was arranged like a room in

which people live and entertain their

friends.

1 window

26 There were cups on the coffee table,

magazines to read, and flowers in the

vases, but the flowers were dead and

the cups were empty and the guests

had not come.

2 flowers, cups

27-28 &

32

In the plate glass, Blake saw a clear

reflection of himself and the crowds

that were passing, like shadows, at his

back. Then he saw her image—so

close to him that it shocked him.

The suddenness with which he moved

when he saw the reflection of her face

tipped the water out of his hatbrim in

such a way that some of it ran down

his neck.

2 Saw

35-36 He could see ahead of him the corner

of Madison Avenue he would be all

right. He felt that if he could get to

Madison Avenue he would he all

right.

1 Madison

Avenue

35&37-

38

He could see ahead of him the corner

of Madison Avenue, where the lights

were brighter. At the corner, there

was a bakery shop with two

entrances, and he went in by the door

on the crosstown street, bought a

coffee ring, like any other commuter,

and went out the Madison Avenue

door. As he started down Madison

Avenue, he saw her waiting for him

by a hut where newspapers were sold.

2 corner, Madison

Avenue

43 He could run—although he was

afraid that if he did run, it might

precipitate the violence he now felt

1 run

31

sure she had planned.

55 They had brought in on their

clothes—on their shoes and

umbrellas—the rancid smell of the

wet dusk outside, but Blake began to

relax as soon as he tasted his Gibson

and looked around at the common,

mostly not-young faces that

surrounded him and that were

worried, if they were worried at all,

about tax rates and who would be put

in charge of merchandising.

1 worried

56 He tried to remember her name—

Miss Dent, Miss Bent, Miss Lent—

and he was surprised to find that he

could not remember it, although he

was proud of the retentiveness and

reach of his memory and it had only

been six months ago.

1 remember

60 After she had been working for him a

few days, she told him that she had

been in the hospital for eight months

and that it had been hard after this for

her to find work, and she wanted to

thank him for giving her a chance.

1 work

61 Her hair was dark, her eyes were

dark; she left with him a pleasant

impression of darkness.

1 darkness

63-64 Once she was speaking to him of

what she imagined his life to be –

full of friendships, money, and a large

and loving family – he had thought he

recognized a peculiar feeling of

deprivation. She seemed to imagine

the lives of the rest of the world to be

more brilliant than they were.

1 imagine

65-66 Once, she had put a rose on his desk,

and he had dropped it into the

wastebasket.

―I don‘t like roses,‖ he told her.

1 Rose

67-68 She had been competent, punctual,

and a good typist, and he had found

only one thing in her that he could

object to – her handwriting. He

could not associate the crudeness of

her handwriting with her

1 handwriting

32

appearance.

71-72 When she had been working for him

three weeks—no longer—they stayed

late one night and he offered, after

work, to buy her a drink.

―If you really want a drink,‖ she said,

―I have some whiskey at my place.‖

2 work, drink

83 The only light came from the

bathroom—the door was ajar—and in

this half light the hideously scrawled

letters again seemed entirely wrong

for her, and as if they must be the

handwriting of some other and very

gross woman.

1 light

92&95 When he left the bar the sky was still

light; it was still raining. He was still

not quite himself, he realized, because

he had left his coffee ring at the bar,

and he was not a man who forgot

things.

2 left, bar

154-155 He remember her name then – Miss

Dent. ―Hello, Miss Dent,‖ he said.

1 Miss Dent

170&177 She opened her purse and reached

for her handkerchief. When she

opened her purse, he remembered

her perfume.

1 She opened her

purse

183-185 ―Where are you working now?‖

―What?‖

―Where are you working now?‖

1 ―Where are you

working now?‖

215-216 ―You understand me now, don‘t

you?‖ she said. ―You understand

that I‘m serious?‖

1 understand

224-225 Someone, noticing the look on his

face or her peculiar posture, would

stop and interfere, and it would all be

over. All he had to do was to wait

until someone noticed his

predicament.

1 noticed

230-231 Help would come in a minute, he

thought. Help would come before

they stopped again; but the train

stopped, there were some comings

and goings, and Blake still lived on,

at the mercy of the woman beside

him.

2 Help would

come in a

minute, stopped

232-233 The possibility that help might not 1 possibility

33

come was one that he could not face.

The possibility that his predicament

was not noticeable, that Mrs.

Compton would guess that he was

taking a poor relation out to dinner at

Shady Hill, was something he would

think about later.

238&243 ―I want to talk with you.‖

―I think we can talk here.

1 Talk

256-257 ―You‘re thinking that I‘m crazy, and I

have been very sick again but I‘m

going to be better. It‘s going to make

me better to talk with you.‖

1 better

284-285 ―... I would have mailed it to you, but

I‘ve been too sick to go out. I haven‘t

gone out for two weeks.

1 gone out

295-296 I have always had a gift for dreams. I

dreamed on Tuesday of a volcano

erupting with blood.

1 dreams

297 When I was in the hospital they said

they wanted to cure me but they to

cure me but they only wanted to take

away my self-respect.

1 wanted

305-307 “I know what you’re thinking. I can

see it in your face. You’re thinking

you can get away from me in Shady

Hill, aren‘t you?

1 you‘re thinking

315-316 Oh, sometimes I think that I ought to

kill you. Sometimes I think you‘re

the only obstacle between me and my

happiness.

1 I think

378-379 I’m afraid to go out in the daylight.

I’m afraid the blue sky will fall

down on me.

1 I‘m afraid

383-384 I still have good dreams sometimes. I

dream about picnics and Heaven and

the brotherhood of man, and about

castles in the moonlight and a river

with willow trees all along the edge

of it and foreign cities, and after all I

know more about love than you.‖

1 dream

388-390 The noise of a train coming down

from the north drowned out her voice,

but she went on talking. The noise

filled his ears, and the windows

where people ate, drank, slept, and

2 noise, train

34

Table 3: Synonymy Items

Sentence

Number

Text Ties Lexical

Cohesion Items

5&8 He did not approach her. He turned

and walked toward the glass doors at

the end of the lobby, feeling that faint

guilt and bewilderment we experience

when we bypass some old friend or

classmate who seems threadbare, or

sick, or miserable in some other way.

1 walked toward-

approach

11-12 As he waited his turn at the revolving

doors, he saw that ut was still raining.

It had been raining all day, and he

noticed now how much louder the rain

made the noises of the street.

1 noticed-saw

14-15 Traffic was tied up, and horns were

blowing urgently on a crosstown street

in the distance. The sidewalk was

crowded.

1 crowded-tied up

22 Something had been torn down; 1 risen –put up

read flew past. When the train had

passed beyond the bridge, the noise

grew distant, and he heard her

screaming at him, ―Kneel down!

397 ―You see, if you do what I say, I

won‘t harm you, because I really

don‘t want to harm you, I want to

help you, but when I see your face it

sometimes seems to me that I can‘t

help you.

2 harm, help

399 Oh, I’m better than you, I’m better

than you, and I shouldn‘t waste my

time or spoil my life like this.

1 I‘m better than

you

408 ―Now I can wash my hands of you, I

can wash my hands of all this,

because you see there is some

kindness, some saneness in me that I

can find again and use.

1 I can wash my

hands

411-412 He heard the clearer and more distant

sound they made on the hard feeling

of the platform. He heard them

diminish

1 Heard

35

something was being put up, but the

steel structure had only just risen

above the sidewalk fence and daylight

poured through the gap.

27-

28&30

In the plate glass, Blake saw a clear

reflection of himself and the crowds

that were passing, like shadows, at his

back. Then he saw her image – so

close to him that it shocked him.

He could have turned then and asked

her what she wanted, but instead of

recognizing her, he shied away

abruptly from the reflection of her

confronted face and went along the

street.

2 shadow-

reflection,

image-shadow

58-59 He saw a dark woman – in her

twenties, perhaps – who was slender

and shy. Her dress was simple, her

figure was not much, one of her

stockings was crooked, but her voice

was soft and he had been willing to try

her out.

1 soft-slender

78 Her diffidence, the feeling of

deprivation in her point of view,

promised to protect him from any

consequences.

1 feeling of

deprivation-

diffidence

78-79 Her diffidence, the feeling of

deprivation in her point of view,

promised to protect him from any

consequence. Most of the many

women he had known had been picked

for their lack of self-esteem.

1 lack of self-

esteem –

diffidence

95-96 He was still not quite himself, he

realized, because he had left his coffee

ring at the bar, and he was not a man

who forgot things. This lapse of

memory pained him.

1 lapse of

memory-forgot

162 He had been frightened when he

looked up and saw her, but her timid

voice rapidly reassured him.

1 saw-looked up

167&170 Her coat was a thin cloth, he saw, and

she wore gloves and carried a large

pocketbook. She opened her purse

and reached for her handkerchief.

1 purse-

pocketbook

172-173 He turned his head to see if anyone in

the car was looking, but no one was.

1 train-car

36

He had sat beside a thousand

passengers on the evening train.

289 The cheap paper felt abhorrent and

filthy to his fingers.

1 filthy-abhorrent

327 The coach rocked gently, and the

coats and mushroom-colored raincoats

that hung between the windows

swayed a little as the car moved.

1 car-coach

385&388 He heard from off the dark river the

drone of an outboard motor, a sound

that drew slowly behind it.

The noise of a train coming down

from the north drowned out her voice,

but she went on talking.

1 noise-sound

Table 4: Antonymy Items

Sentence

Number

Text Ties Lexical

Cohesion Items

22 Something had been torn down;

something was being put up, but the

steel structure had only just risen

above the sidewalk fence and daylight

poured through the gap.

1 put up-torn

down

37 At the corner, there was a bakery shop

with two entrances, and he went in by

the door on the crosstown street,

bought a coffee ring, like any other

commuter, and went out the Madison

Avenue door.

1 went out-went in

55 They had brought in on their clothes—

on their shoes and umbrellas—the

rancid smell of the wet dusk outside,

but Blake began to relax as soon as he

tasted his Gibson and looked around at

the common, mostly not-young faces

that surrounded him and that were

worried, if they were worried at all,

about tax rates and who would be put

in charge of merchandising.

1 worried-relax

90-91 Blake drank a second Gibson and saw

by the clock that he had missed the

express. He would get the local – the

five forty eight.

1 get-missed

162 He had been frightened when he 1 reassured-

37

looked up and saw her, but her timid

voice rapidly reassured him.

frightened

176 He had marked them as rich, poor,

brilliant or dull, neighbors or

strangers, but no one of the thousands

had ever wept.

3 poor-rich,

dull-brilliant,

strangers-

neighbors

195-197 The train stopped. A nun and a man in

in overalls got off. When it started

again, Blake put on his hat and

reached for his raincoat.

1 started-stopped

209-210 Blake sat back abruptly in his seat. If

he had wanted to stand and shout for

help, he would not have been able to.

1 stand-sat

215 He tried to speak but he was still

mute.

1 mute-speak

231 Help would come before they stoped

again; but the train stopped, there were

some comings and goings,

1 goings-comings

239-240 ―You can come to my office.‖

―I went there every day for two

weeks.‖

1 went-come

Table 5: Meronymy Items

Sentence

Number

Text Ties Lexical

Cohesion Items

1-2 When Blake stepped out of the

elevator, he saw her. A few people,

mostly men waiting for girls, stood in

the lobby watching the elevator doors

1 elevator doors-

elevator

25 The window was arranged like a

room in which people live and

entertain their friends.

1 room-window

53 He ordered a Gibson and shouldered

his way in between two other men at

the bar, so that if she should be

watching from the window she would

lose sight of him.

1 window-bar

83 The only light came from the

bathroom—the door was ajar—and

in this half light the hideously

scrawled letters again seemed entirely

wrong for her, and as if they must be

the handwriting of some other and

1 door-bathroom

38

very gross woman.

84&86 The next day, he did a sensible thing.

Then he took the afternoon off.

1 afternoon-day

91-92 He would get the local – the five forty

eight. When he left the bar the sky was

still light; it was still raining.

1 left-get

98 The local was only half full when he

boarded it, and he got a seat on the

river side and took off his raincoat.

1 seat-the local

318-320 She touched Blake with the pistol. He

felt the muzzle against his belly. The

bullet, at that distance, would make a

small hole where it entered, but it

would rip out of his back a place as

big as a soccer ball.

2 muzzle-pistol,

bullet-pistol

Table 6: Hyponymy Items

Sentence

Number

Text Ties Lexical

Cohesion Items

31 She might be meaning to do him harm

– she might be meaning to kill him.

1 kill-harm

50 The reports in his briefcase had no

bearing on war, peace, the dope

traffic, the hydrogen bomb, or any of

the other international skulduggeries

that he associated with pursuers, men

in trench coats, and wet sidewalks.

1 international

skullduggeries-

war, peace, dope

traffic, hydrogen

bomb

53-54 He ordered a Gibson and shouldered

his way in between two other men at

the bar, so that if she should be

watching from the window she would

lose sihgt of him. The place was

crowded with commuters putting

down a drink before the ride home.

2 place-bar,

drink-Gibson

59 Her dress was simple, her figure was

not much, one of her stockings was

crooked, but her voice was soft and he

had been willing to try her out.

1 stockings-dress

72 ―If you really want a drink,‖ she said,

―I have some whiskey at my place.‖

1 whiskey-drink

92&94 When he left the bar, the sky was still

light; it was still raining.

Once or twice, he looked over his

1 walking-left

39

shoulder, walking to the station, but

he seemed to be safe.

147-148 Out of the corner of his eye he could

see the landscape. It was industrial

and, at that hour, sad.

1 industrial-

landscape

Table 7: Collocation Items

Sentence

Number

Text Ties Lexical items

194 He was conscious of her heavy

breathing and the smell of her rain-

soaked coat.

1 heavy-

breathing

213 All he could think of to do then was to

wait for his heart to stop its hysterical

beating, so that he could judge the extent

of his danger.

1 beating-heart

B. Data Analysis

1. Repetition

(1) Walking in the city, we seldom turn and look back. The habit

restrained Blake. He listened for a minute – foolishly – as he

walked as if he could distinguish her footsteps from the world of

sound in the city at the end of a rainy day (P.2/S.17).

There are three cohesive ties of repetitions in the sentence walked,

city and end of a rainy day. Walked is verbal repetition because it has

been mentioned previously in S.18 but it extends in the different

morphological form walking. However, it remains cohesion because

lexical cohesion is not bound to particular morphological form.

Another repetition is the word city. It is called repetition because it

has been mentioned formerly in S.18. City in S.20 has no referential

40

relation to the city previously stated. Further, city in S.20 cannot involve

the city in S.18 because city in S.18 is a generalization as beginning of

paragraph. Meanwhile, city in S.20 shows the place where he walked

while listening to her footsteps.

The other repetition in the text is end of a rainy day. End of a

rainy day is noun repetition of end of the day in S.16. Then they, end of

a rainy day and end of the day, establish a tie which link S.20 and S.16.

Both are used as prepositional phrase which occurs in the context of time.

The text is coherent. The coherence is created by repetition

providing the continuity. The repetition shows the continuity of a process

of leaving office at the time. At first, the activity is he came out of the

office (S.16). It means he was not in the office any longer. Then he

walked in the city at the end of rainy day in S.20 comes as the next

process of leaving the office.

So, the text tells the readers that the actor, he i.e. Blake, walked in

the city at the end of rainy day after coming out of the office building.

When he walked he tried to listen to her footsteps.

(2) Blake stopped opposite here and looked into a store window. It

was a decorator‘s or an auctioneer‘s. The window was arranged

like a room in which people live and entertain their friends. There

were cups on the coffee table, magazines to read, and flowers in

the vases, but the flowers were dead and the cups were empty and

the guests had not come (P.2/S.23-26).

There are three repetitions in the passage. The first is the word

window. Window repeats store window in S.25. In S.23 a store window

41

as object and in the following sentence window comes as subject. This

repetition explains the condition of store window in Blake‘s view.

The second repetition is cups because cups has been mentioned

previously in the same sentence. Cups are repeated exactly the same. The

cups has same identical referent with cups in the previous sentence. It

shows that the empty cups were cups on the coffee table.

This occurrence is also applied in the word flowers. Flowers

(were dead) is repetition of flowers (in the vases). The repetition of

flowers has identical referent as flowers in the previous part. So, the dead

flowers were flowers in the vases.

The repetetitions create coherence of the text through the ties. The

repetition of windows ties S.23 and S.25. Then, the repetition of cups ties

wo clauses in the same sentence. The last is the repetition of flowers. It

ties two clauses in the same sentence.

(3) In the plate glass, Blake saw a clear reflection of himself and the

crowds that were passing, like shadows, at his back. Then he saw

her image—so close to him that it shocked him (P.2/S.27-28).

Saw in S.28 is also repetition because it has been mentioned in the

previous sentence. The repetition ties S.28 and S.27. So, the repetition of

saw in S.28 gives the cohesive effect.

In creating coherence, the repetition of saw gives the continuity of

sequential activities. Saw in S.28 and S.27 has the same actor, Blake. This

tie shows the sequential things that Blake saw in the plate glass, a clear

42

reflection of himself and the crowds, and her image. It is reinforced by

the conjunction then in S.28. So, it can be interpreted that besides seeing

his reflection, Blake also saw her image which made him shocked.

(4) The suddenness with which he moved when he saw the reflection

of her face tipped the water out of his hatbrim in such a way that

some of it ran down his neck (P.3/S.32).

There are two repetitions in the text. The first is repetition of saw.

Saw in S.32 is called repetition because it has been mentioned in S.28.

Saw in S.32 establishes a tie between S.32 and S.27. Besides saw,

reflection of her face in S.32 also includes lexical repetition. Reflection

of her face repeats reflection of her contorted face in S.30. The cohesive

item, reflection of her face, is stated in less information than the

presupposed item. It does not contain information contorted nevertheless

it remains cohesive. So, the repetition establishes a tie between S.32 and

S.30.

The repetitions contribute to coherence through creating a context

in the text. The repetition of saw in S.32, which is the beginning of

paragraph 3, emphasizes that the event he moved suddenly is the result of

what he saw. Then, the repetition of reflection of her face shows that this

sentence has the relation of meaning with the previous sentence S.30. It

becomes context explaining that this sentence, S.32, is a seriality of the

text before.

(5) He tried to remember her name – Miss Dent, Miss Bent, Miss Lent

– and he was surprised to find that he could not remember it,

43

although he was proud of the retentiveness and reach of his

memory and it had only been six months (P.5/S.56).

The writer used remember as cohesive item through its repetition

in the text. Remember in he could not remember it is second occurrence

of remember in he tried to remember. Therefore, remember is called

repetition.

Remember in the first occurrence emerges as the object of tried. It

means that he did not remember her name and tried to. However, the verb

remember is repeated which is accompanied by negation, could not

remember. It shows his incapability of remembering the woman‘s name.

So, it can be understood that the text tells about the failure of the actor in

attempting to remember the woman‘s name.

(6) As he got to know her better, he felt that she was oversensitive and,

as a consequence, lonely. Once, when she was speaking to him of

what she imagined his life to be—full of friendships, money, and a

large and loving family—he had thought he recognized a peculiar

feeling of deprivation. She seemed to imagine the lives of the rest

of the world to be more brilliant than they were. Once, she had put

a rose on his desk, and he had dropped it into the wastebasket. ―I

don‘t like roses,‖ he told her (P.6/S.62-66).

In the passage, once S.65, imagine S.64 and roses S.66 are lexical

repetitions. Once in S.65 repeats once in S.63. The occurrence of the two

establishes a cohesion tie. Once is one of narrative characteristics. It is

used to describe event at past. In this case once is used in the context of

past event. Then the repetition of once indicates that the events; she was

44

speaking to him in S.63 and she had put a rose on his desk in S.65 take

different times.

Repetition in the passage is also found in imagine S.64. Imagine

in S.64 displays a semantic relation between S.64 and S.63 through

repetition because it has been mentioned previously. The repetition is

preceded by seemed to, explaining what the speaker says about thoughts,

feeling or action is less strong. So, imagine in S.64 shows the Blake‘s

thought about what she imagined. The text tells that after she spoke about

her imagination of Blake‘s life, he thought that she had a feeling of

deprivation. Then it makes Blake think she also imagined other lives more

brilliant.

Repetition also occurs to roses in the last sentence. The lexical tie

is between roses in S.66 and rose in S.66. Roses in S.66 is a restatement

of rose in S.65. It can be interpreted that roses in S.66 includes the rose in

the previous sentence and others as well.

(7) When she had been working for him three weeks—no longer—they

stayed late one night and he offered, after work, to buy her a drink.

―If you really want a drink,‖ she said, ―I have some whiskey at my

place,‖ (P.7/S71-72).

Drink in S.72 is a repetition form of drink in S.71. A drink in

S.72 excludes a drink referred to in the preceding sentence. It is reinforced

with her statement some whiskey at my place showing that a drink she

45

offered is her whiskey at her place. Meanwhile, a drink in the previous

sentence is a drink at work.

The text tells us that at night when they stayed late he bought her a

drink, they stayed late one night and offered, after work, to buy her a

drink. Afterwards, it is the girl that offered another drink. It is described

by her next utterance I have some whiskey at my place showing another

place where she stored the drink.

(8) When he left the bar the sky was still light; it was still raining. He

looked carefully up and down the street and saw that the poor

woman had gone. Once or twice, he looked over his shoulder,

walking to the station, but he seemed to be safe. He was still not

quite himself, he realized, because he had left his coffee ring at the

bar, and he was not a man who forgot things (P.10/S.92-95).

There are three repetition items in the sentence; left, coffee ring

and bar. To begin with, repetition includes left in S.95 because it has been

stated initially in S.92. However, left in S.95 and in S.92 has different

context. Left in S.95 is used in the context of unintentional action and the

initial is on the contrary condition.

The next repetition in the text is coffee ring in S.95. Coffee ring

restates coffee ring in S.37 and S.45. It refers to coffee ring in the

previous occurrence, S.37 and S.45. So, coffee ring he left is a coffee

ring he bought in the bakery shop. The last repetition in the text is bar.

Bar in S.95 is repetition of bar in S.92. The repetition establishes a tie

46

between S.95 and S.92. The bar stated formerly has the same referent as

the bar in S.95.

The text tells that he felt unsafe when he left the bar. He looked up

carefully up and down the street and once or twice, he looked over his

shoulder indicate that someone is in fear. As a consequence, he forgot his

coffee ring and left it at the bar which he left before. So, it can be

understood that he left the bar in fear so that he forgot his coffee ring and

left it.

(9) When she opened her purse, he remembered her perfume. It had

clung to his skin the night he went to her place for a drink

(P.18/S.177-178).

There are two repetitions in the sentences. First, she opened her

purse is sentence repetition of she opened her purse in S.170. This

restatement of the sentence is placed at the end of the paragraph signaling

the reader that the semantic unit represented by this paragraph is now

complete. It tells that she opened her purse to take handkerchief and she

began to cry. When she did, it reminds him of her perfume.

Then night is also repetition. It has been stated in S.71. Night ties

S.178 and S.71 by means of repetition. The night in S.178 refers to the

night in S.71. It comes in the context of time when he went to her place.

The repetition shows that at the night they stayed late, S.71, and then they

drank at her place, S.72, he smelt her perfume. He smelt it again when she

opened her purse.

47

(10) Help would come in a minute, he thought. Help would come

before they stopped again; but the train stopped, there were some

comings and goings, and Blake still lived on, at the mercy of the

woman beside him (P.24/S230-231).

There are three repetitions in the text. The first is repetition of

clause help would come. The clause help would come in this paragraph

occurs twice in S.230 and in S.231. It has been stated in S.222. It is

adjacent with repetition thought in the same sentence. Thought is

repetition of thought in S.222. Those repetitions describe Blake‘s strong

expectation to get help.

Then the following repetition in this passage is stopped in the

train stopped repeats stopped in they stopped again. The other

repetition found in the text is Blake. Blake has been stated in S.222. It is

called repetition then because item which is restated is repetition.

The text describes Blake‘s strong expectation to get help in a

minute. Then the clause is restated with the specific time before they

stopped. However, the verb stopped is mentioned again to state contrary

condition, but the train stopped. It indicates that his expectation will not

occur. Nonetheless, Blake is still safe.

(11) The possibility that help might not come was one that he could not

face. The possibility that his predicament was not noticeable, that

Mrs. Compton would guess that he was taking a poor relation out

to dinner at Shady Hill, was something he would think about later

(P.24/S.232-233).

48

There are five repetitions in the text. The first is clause help might

not come. Help might not come S.232 is repetition of help would come

S.231. Help would come has been stated in S.231, S.230 and S.222. This

repetition creates the unity of the text through the meaning relation. It

relates S.232, S.231, S.230 and S.222.

In addition, possibility is also included in repetition item.

Possibility in S.233 repeats possibility in S.232. It is adjacent with the

repetitions of predicament and noticeable. Predicament extends as

repetition in the text because it is a second occurrence of predicament in

S.225. Predicament in S.233 refers back to predicament in S.225. It is

adjacent with the repetition of noticeable. Noticeable repeats noticed in

S.225. It remains being called repetition item although both items have the

different form. The repetition is accompanied by negation.

The last repetition in the text is think. It is restatement of thought

in S.230. Restating the same item is called repetition. Therefore, think in

S.233 is called repetition although it extends in different form.

The repetition gives the continuity of the environment of the

contrary event that he expected. Blake thought help would come when

someone notices his predicament but in this event this possibility is not

fulfilled because his predicament is not noticeable.

(12) ―It‘s on the seat. Pick it up. I would have mailed it to you, but I‘ve

been too sick to go out. I haven‘t gone out for two weeks. I haven‘t

49

had any work for three months. I haven‘t spoken to anybody but

the landlady. Please read my letter,‖ (P.29/S.282-288).

The repeatitions in the text above are verbal phrase and noun

repetitions. It is found two verb repetitions. The first verb repetition is

read my letter in S.288. It has been stated in S.281.

The second verb repetition is gone out in S.185. Gone out restates

the word go out in S.285. They are called repetitions because they have

been stated previously although for the presupposed item of gone out has

different morphological forms. Lexical item is not bound to a particular

grammatical category.

Miss Dent‘s utterance I haven’t gone out for two weeks can be

interpreted as the consequence of his illness. It has been mentioned in the

preceding I’ve been too sick to go out.

2. Synonymy or Near synonymy

(13) He did not approach her. She had no legitimate business with him.

They had nothing to say. He turned and walked toward the glass

door at the end of the lobby, feeling that faint guilt and

bewilderment we experience when we bypass some old friends or

classmate who seems threadbare, or sick, or miserable in some

other way (P.1/S.5-8).

Walked toward is synonymous with approach in S.5. Approach

means to come near to somebody or something in distance or time.

Meanwhile, walked toward also has meaning walking to come near

something. They have the similar meaning although it is not exactly. So,

their relation is called synonymy.

50

The text tells about his reaction (Blake‘s reaction) when saw her.

He keeps away from her because he does not have business with her. It

shows by the verb approach accompanied by negation. Then, it is asserted

by the following sentence they had nothing to say. He walked toward

the glass door emphasizes that Blake did not approach her, but he

approached to the glass door.

(14) He could have turned then and asked her what she wanted, but

instead of recognizing her, he shied away abruptly from the

reflection of her contorted face and went along the street

(P.2/S.30).

The cohesive tie in the text is achieved through synonymy between

reflection S.27 and S.30 and image S.28. Reflection and image have the

meaning a picture of something or somebody seen in a mirror. In this

context they refer to a picture seen in the plate glass. The similarity of

meaning they have constructs synonymy.

The text shows the chronological event when Blake looked the

plate glass of the store. At first, Blake saw reflection of himself,

afterwards he saw her image. When he saw it he realized that she was so

close to him. Then this condition made Blake shy away from the reflection

of her contorted face.

(15) Her diffidence, the feeling of deprivation in her point of view,

promised to protect him from any consequences. Most of the many

women he had known had been picked for their lack of self-esteem

(P.8/S.78-79).

There is one tie of synonymy in the text. It is established between

lack of self-esteem and diffidence. The word diffidence has meaning not

51

having much confidence. It is synonymous with the phrase lack of self-

esteem. The synonymy in this passage establishes a tie between S.79 and

S.78 describing an inclusive referent. Their lack of self-esteem includes

her diffidence and other women he had known.

The repetition extends in the last sentence of the paragraph to

conclude the paragraph. It tells that her diffidence is the reason he chosen

her like any other women. The paragraph tells about her (the woman). It

tells how she treats Blake and her diffidence drives her to protect him.

(16) Her coat was thin cloth, he saw, and she wore gloves and carried a

large pocketbook (P.17/S.167)

She opened her purse and reached for her handkerchief

(P.18/S.170).

In the passage above, the synonyms are nouns purse in S.170 and

pocketbook in S.167. Both purse and pocketbook carry meaning small

bag. The word that has similar meaning to another item is called synonym

and the relation between them is called synonymy.

The repetition that occurs in the beginning of the paragraph

indicates a relation between two paragraphs that are paragraph 17 and 18.

The purse in S.170 refers to a large pocketbook in S.167. So, this cohesive

tie gives the interpretation that purse she opened is the same as a large

pocketbook she carried.

3. Antonymy

(17) Then he noticed, ahead of him on the other side of street, a break in

the wall of buildings. Something had been torn down; something

52

was being put up, but the steel structure had only just risen above

the sidewalk fence and daylight poured through the gap (P.2/S.21-

22).

Verbal phrase put up has opposite meaning to torn down. Put up

means to build something. On the contrary, torn down means to knock

down a building, wall etc. Items that have the opposite meaning are known

as antonyms. So, the relation between put up and torn down is called

antonymy.

The text tells what Blake noticed in the street. He saw the break

wall of building which built partly. The verb torn down and put up are

used and both are in the passive form. Those two contrary verbs is used to

describe the condition of the wall i.e., there is something torn down on one

side and there is something built on the other side. Further, it is the steel

structure just risen above gives the further explanation about what is built

up.

(18) They had brought in on their clothes – on their shoes and umbrellas

– the rancid smell of the wet dusk outside, but Blake began to relax

as soon as he tasted his Gibson and looked around at the common,

mostly not-young faces that surrounded him and that were

worried, if they were worried at all, about tax rates and who would

be put in charge of merchandising (P.5/S.55).

There is one tie of antonymy in the text, that is between worried

and relax. Worried has opposite meaning to relax. Worried has meaning

to keep thinking about unpleasant thing and relax has meaning to allow

your attention or effort to become weaker. Two words that have opposite

53

meaning are called antonyms. So, the words worried and relax in the text

establish antonymy.

The antonyny constitutes coherence of the text. The antonyms

show people in the bar were worried and it is opposed to Blake‘s

pshycological condition after drinking Gibson. It is seen from Blake

began to relax as soon as he tasted his Gibson. So, it can be understood

that Gibson can release Blake‘s anxiousness.

(19) Blake drank a second Gibson and saw by the clock that he had

missed the express. He would get the local – the five forty eight

(P.10/S.90-91).

The word get in this environment is opposite to missed. Get in

S.91 means to catch and missed in S.90 means to fail to catch. Two items

that have opposite meaning creates antonymy. So, get and missed

establish antonymy.

The antonymy between get and missed in the text above describes

consequence of missing the express. It makes Blake use the local instead

of the express. It can be understood that the text tells Blake get the local

because he had missed the express.

(20) The train stopped. A nun and a man in overalls got off. When it

started again, Blake put on his hat and reached for his raincoat

(P.20/S.195-197).

There is one antonymy in the text. It is between started and

stopped. Started in S.197 is antonymous with stopped in S.195. Started

54

means to begin to operate while stopped means no longer move. The verb

started in this context means that the train begins to move.

Further, it describes the condition of the train begins to run; the

later on its condition not moving. The antonymy in the text come in the

context of time. The train stopped shows the time when people got off

the train. Then, when it started again shows the time when Blake

prepares to get off the train in the next station.

(21) Blake sat back abruptly in his seat. If he had wanted to stand and

shout for help, he would not have been able to (P.22/S.209-210).

Stand in S.210 builds antonymy relation to sat S.209. Sat means to

rest weight on bottom with back vertical on/in a chair. Stand means to be

on your feet; to be in a vertical position. Stand is used in conditional

sentence describing the contrary activity of what Blake was doing.

The sentences come after the utterance don’t move or I’ll kill you.

It can be understood that he hoped to stand and shout for help but in the

fact he sat.

4. Meronymy

(22) He turned and walked toward the glass doors at the end of the

lobby, feeling that faint guilt and bewilderment we experience

when we bypass some old friend or classmate who seems

threadbare, or sick, or miserable in some other way (P.1/S.8).

End of the lobby in S.8 establishes meronymy relation with lobby

in S.2. End of the lobby is part of lobby. This part-whole relation is called

meronymy relation. This cohesive tie relates S.8 and S.2.

55

The end of the lobby in the sentence is placed as object of

preposition showing the place. This lexical item shows the specific place

he reached in the lobby. This shows continuity of the event takes place.

The glass doors he walked toward are still in the lobby area.

(23) Traffic was tied up, and horns were blowing urgently on a

crosstown street in the distance. The sidewalk was crowded

(P.1/S.14-S.15).

Sidewalk in S.15 and street in S.14 establishes a tie between S.15

and S.14 through meronymy relation. Sidewalk is a part at the side of a

street for people to walk on. Part-whole relation is called meronymy. So,

the relation between sidewalk and street is called meronymy.

This tie constructs coherence of the text. It can be understood that

the sentence describes the condition of traffic of the time that is tied up so

that the sidewalk is crowded.

(24) The only light came from the bathroom – the door was ajar – and

in this half light the hideously scrawled letters again seemed

entirely wrong for her, and as if they must be handwriting of some

other and very gross woman (P.9/S.83).

Door and bathroom in S.83 creates meronymy relation that shows

door is a part of bathroom. So, the door in the sentence above means

door of the bathroom.

This semantic relation constructs coherence of the text. The text

can be interpreted that the condition of the bathroom door – ajar –

describes how the light came to the room. So, it can be interpreted that the

56

text tells the readers about how light comes. Then, it is used for lighting to

read the scrawled letters.

(25) The next day, he did what he felt was the only sensible thing.

When she was out for lunch, he called personnel and asked them to

fire her. Then he took the afternoon off (P.9/S.86).

Afternoon plays an important role in constructing day. The use

afternoon in this sentence can be said as part of day. This part-whole

relation is called meronymy relation then.

Afternoon sets up the unity in the text through its tie between S.86

and S.84 in the context of time. The next day is a time when he fired her

and it is the day when he took the afternoon off.

(26) She touched Blake with the pistol. He felt the muzzle against his

belly. The bullet, at that distance, would make a small hole where

it entered, but it would rip out of his back a place as big as a soccer

ball (P.32/S.318-320).

There are two ties of meronymy in the text. Both ties have the same

superordinate, i.e. pistol. The first tie is set up by muzzle and pistol.

Meanwhile, the second tie is established by bullet and pistol. Bullet S.320

and muzzle S.319 are parts of pistol. Muzzle is the open end of a gun,

where the bullet comes out. Bullet is a small object that is fired from the

gun. The occurrence of bullet, muzzle and pistol in the adjacent sentences

builds meronymy relation. This meronymy relation sets up the unity in the

text. Bullet is related to pistol and muzzle also related to pistol.

The meronymy relation describes the more detail way the pistol

works. Pistol as a whole item exists as a manner she touched Blake with

57

the pistol. The muzzle against his belly shows the next step using the

pistol.

5. Hyponymy

(27) The reports in his briefcase had no bearing war, peace, the dope

traffic, the hydrogen bomb, or any of the other international

skullduggeries that he associated with pursuers, men in trench

coats, and wet sidewalk (P.4/S.50).

In this sentence, there is hyponymy relation. This relation is

constructed by international skullduggeries and war, dope traffic and

hydrogen bomb. War, dope traffic and hydrogen bomb are specific

kinds of skullduggery. The relation between specif and general words is

called hyponymy. So, the relation between war, dope traffic and

hydrogen bomb and skullduggeries is included in hyponymy.

This hyponymy relation shows the specific kinds of international

skullduggeries that he supposes as the reason someone follows him. The

use of specificity followed by general thing in the text to emphasize that

nothing important in his (Blake‘s) briefcase.

(28) He ordered a Gibson and shouldered his way in between two other

men at the bar, so that if she should be watching from the window

she would lose sight of him. The place was crowded with

commuters putting down a drink before the ride home (P.5/S.53-

54).

A hyponymy relation is established between the words place and

bar. They are called hyponymy because place is general term of bar. Bar

is a place where someone can buy and drink alcoholic and other drinks.

The general-specific relation is called hyponymy.

58

The hyponymy in the text (29) creates coherence of the text by

providing the continuity of idea that is bar. Bar in S.53 is used as a place

he ordered Gibson. The place in the text refers to the bar in S.53. So, the

place in this context can be understood as the bar. The text tells the

readers that the bar was tight with the people returning from work.

(29) When she had been working for him three weeks – no longer –

they stayed late one night and he offered, after work to buy her a

drink. ―If you really want a drink,‖ she said, ―I have some whiskey

at my place (P.7/S.71-72).

Whiskey is hyponym of superordinate drink. Whiskey is one kind

of a drink. Then the tie between whiskey and drink is called hyponymy

relation, that is a tie set up by relation between general class and

subclasses. So, the continuity of this sentence is achieved by hyponymy

that describes the more specific drink she offers.

It can be understood that the text tells about their continuity of

having a drink at the night. The previous text explains that they stayes late

after work. Then, Blake buys her a drink. Afterwards, she offers him

another drink by mentioning the kind of alcoholic drink, whiskey. In

addition, the place of whiskey also indicates that they continue drinking at

her place.

(30) When he left the bar, the sky was still light; it was still raining. He

looked carefully up and down the street and saw that the poor

woman had gone. Once or twice, he looked over his shoulder,

walking to the station, but he seemed to be safe (P.10/S.92-94).

The hyponymy in the text occurs between walking and left in S.92.

Walking relates S.95 to S.92 through hyponymy. Walking is one kind of

59

leaving. Leave means to go away from a person or a place. Walking

means move or go somewhere by putting one foot in front of the other.

Subclass and general class relation is called hyponymy. Therefore,

walking and left relation is called hyponymy.

This lexical cohesion constructs coherence through creating a

context of leaving the bar. In this passage, walking describes the way he

left the bar. He walked from the bar to the station. It is stated in S.94

walking to the station. The previous sentence, S.93, shows how he

walked that is he walked carefully. It is indicated by he looked carefully

up and down the street. So, it can be understood that the text tells us

about the way he left the bar that is walking to the station carefully.

6. Collocation

(31) He took breath. He looked with deep feeling at the half-filled, half

lighted coach to affirm his sense of actuality, of a world in which

there was not very much bad trouble after all. He was conscious of

her heavy breathing and the smell of her rain-soaked coat

(P.20/S.192-194).

The collocation items in the text are heavy and breathing because

the words are fixed combinations. Heavy breathing means that someone

breathes noisely. In the text, this collocation shows that she breathes

deeply because of walking. It is unusual to say noisy breathing. So, heavy

and breathing gives cohesive effect.

60

Then, the coherence of the text can be understood that the context

of the text is her heavy breathing heard by him (Blake). The text can be

understood that he was aware of her breathing after walking.

(32) All he could think of to do then was to wait for his heart to stop its

hysterical beating, so that he could judge the extent of his danger

(P.22/S.213).

In the text beating and heart emerge as the second tie. Beating is a

verb that associated with heart. Beating collocates with heart because

beating is heart‘s activity. The use of beating in the sentence adjacent

with heart creates cohesion and coherence. It describes the extraordinary

activity of Blake‘s heart. The cohesive ties of collocation describe Blake‘s

fear.

61

CHAPTER IV

CONCLUSION AND SUGGESTION

A. Conclusion

This research studies the lexical cohesions in the short story, The

Five-Forty Eight. The analysis uses Halliday and Hasan‘s theory of

cohesion combining with Brian Paltridge to answer the questions about

kinds of lexical cohesion and application of the lexical cohesions in

creating coherence of the text.

To sum up, all types of lexical cohesions are found in the text.

They are repetition, synonymy, antonymy, meronymy, hyponymy and

collocation. Repetition occurs in the exact words and with more

information. The next lexical cohesion that occurs in the text is synonymy.

Then antonymy is also found in the text. The collocation cohesion occurs

in the text shows the relation of part-to-part, the members of the same

general things and the items in the proximity with each other of pairs.

Furthermore, based on the analysis, the lexical cohesions

contribute to coherence of the text. The cohesive relations that occur in the

text contribute to continuity and also set up the context for the

interpretation.

B. Suggestion

The study of cohesion and coherence needs to be explored. There

are some suggestions for the next researchers who are interested in

62

cohesion and coherence. To begin with, it would be better for the next

researchers to analyze grammatical and lexical cohesions for getting the

comprehensive result. Unlike this study which focuses on lexical

cohesions so that the analysis of the coherence is less profound.

Besides that, the suggestion for the next researchers is also to

explore different text types from this research uses such as expository,

argumentative, etc. In addition, the next researchers are suggested to use

other theories to explain coherence such as relational coherence or

cohesive harmony. So, it can complete research related to cohesion and

coherence.

63

BIBLIOGRAPHY

Bamberg, Betty. ―What Makes a Text Coherent?‖ College Composition and

Communication 34 (1983): 417-429. Web. 1 Dec. 2016.

Cheever, John. The Stories of John Cheever. United States: Alfred A. Knopf,

1978. Print.

Crane, A. Paul. ―Texture in Text: A Discourse Analysis of News Article Using

Halliday and Hasan‘s Model of Cohesion.‖ Journal of School of Foreign

Languages 30 (2006): 131-156. Web. 10 Dec. 2016.

Cutting, Joan. Pragmatics and Discourse: A Resource Book for Students.

Florence: Routledge, 2002. Print

Gee, James Paul and Michael Handford. ―Introduction.‖ The Routledge Handbook

of Discourse Analysis. Ed. James Paul Gee and Michael Handford. London:

Routledge, 2012. 1-6. Print.

Halliday, M. A. K. and Ruqaiya Hasan. Cohesion in English. London: Longman

House, 1975. Print.

---. Language, Context and Text: Aspect of Language in a Social Perspective.

Oxford: Oxford University Press, 1989. Print.

Halliday, M.A.K. Language as Social Semiotic: The Social Interpretation of

Language and Meaning. Maryland: University Park Press, 1978. Print.

Lyons, John. Linguistics Semantics An Introduction. New York: Continuum,

2001. Print.

Malah, Zubairu. ―Lexical Cohesion in Academis Discourse: Exploring Applied

Linguistics Research Article Abstracts.‖ Research Journal of English

Language and Literature 3 (2015): 291-299. Web. 11 Nov. 2016.

McCharty, Michael. Discourse Analysis for Language Teachers. Cambridge:

Cambridge University Press, 2000. Print.

Mey, Jacob L. Pragmatics An Introduction. Oxford: Blackwell Publishing, 2001.

Print.

Moe, Alden J. ―Cohesion, Coherence, and the Comprehension of Text.‖ Journal

of Reading No. 1. Vol. 23. Oct. 1979: 16-20. Web. 21 Sept. 2016.

Paltridge, Brian. Discourse Analysis. London: Continuum, 2008. Print.

64

Renkerma, Jan. Introduction to Discourse Studies. Philadelphia: John Benjamins

Publishing Company, 2004. Print.

Salkie, Raphael. Text and Discourse Study. London: Routledge, 1995. Print.

"short story". Encyclopædia Britannica. Encyclopædia Britannica Online.

Encyclopædia Britannica Inc., 2016. Web. 15 Nov. 2016

<https://www.britannica.com/art/short-story>.

Simanjuntak, Dumaria. Pemarkah Kohesi sebagai Penyelaras Wacana: Kajian

terhadap Kumpulan Cerita Pendek Kompas.Depok: Universitas Indonesia,

2008. Print.

Slembrouck, Stef. ―What is Meant by Discourse Analysis?‖ English Studies.

Universiteit Gent, 2007. Web. 18 Sept. 2015. <www.english.urgent.be/da>.

Subroto, Edi. Pengantar Metode Penelitian Linguistik Struktural. Surakarta:

Sebelas Maret University Press, 1992. Print.

Sukowati, Asri. Cohesion Analysis of Crime News Text in New York Daily News

and The Village Voice. Jakarta: UIN Syarif Hidayatullah, 2015. Print

Taboada, María Teresa. Building Cohesion and Coherence. Amsterdam: John

Benjamins Publishing Company, 2004. Print.

Widdowson, H.G. Text, Context, Pretext: Critical Issues in Discourse Analysis.

Oxford: Blackwell Publishing, 2004. Print.

Zoltán, Dӧrnyei. Research Methods in Applied Linguistics: Quantitative,

Qualitative and Mixed Methodologies. Oxford: Oxford University Press,

2007. Print.

65

APPENDIX

The Five-Forty-Eight

By John Cheever

[1] When Blake stepped out of the elevator, he saw her (1). A few

people, mostly men waiting for girls, stood in the lobby watching the

elevator doors (2). She was among them (3). As he saw her, her face took on

a look of such loathing and purpose that he realized she had been waiting

for him (4). He did not approach her (5). She had no legitimate business

with him (6). They had nothing to say (7). He turned and walked toward the

glass doors at the end of the lobby, feeling that faint guilt and bewilderment

we experience when we bypass some old friend or classmate who seems

threadbare, or sick, or miserable in some other way (8). It was five-eighteen

by the clock in the Western Union office (9). He could catch the express

(10). As he waited his turn at the revolving doors, he saw that it was still

raining (11). It had been raining all day, and he noticed now how much

louder the rain made the noises of the street (12). Outside, he started

walking briskly east toward Madison Avenue (13). Traffic was tied up, and

horns were blowing urgently on a crosstown street in the distance (14). The

sidewalk was crowded (15). He wondered what she had hoped to gain by a

glimpse of him coming out of the office building at the end of the day (16).

Then he wondered if she was following him (17).

[2] Walking in the city, we seldom turn and look back (18). The habit

restrained Blake (19). He listened for a minute—foolishly—as he walked, as

if he could distinguish her footsteps from the worlds of sound in the city at

the end of a rainy day (20). Then he noticed, ahead of him on the other side

of the street, a break in the wall of buildings (21). Something had been torn

down; something was being put up, but the steel structure had only just risen

above the sidewalk fence and daylight poured through the gap (22). Blake

stopped opposite here and looked into a store window (23). It was a

66

decorator‘s or an auctioneer‘s (24). The window was arranged like a room

in which people live and entertain their friends (25). There were cups on the

coffee table, magazines to read, and flowers in the vases, but the flowers

were dead and the cups were empty and the guests had not come (26). In the

plate glass, Blake saw a clear reflection of himself and the crowds that were

passing, like shadows, at his back (27). Then he saw her image—so close to

him that it shocked him (28). She was standing only a foot or two behind

him (29). He could have turned then and asked her what she wanted, but

instead of recognizing her, he shied away abruptly from the reflection of her

contorted face and went along the street (30). She might be meaning to do

him harm—she might be meaning to kill him (31).

[3] The suddenness with which he moved when he saw the reflection

of her face tipped the water out of his hatbrim in such a way that some of it

ran down his neck (32). It felt unpleasantly like the sweat of fear (33). Then

the cold water falling into his face and onto his bare hands, the rancid smell

of the wet gutters and pavings, the knowledge that his feet were beginning

to get wet and that he might catch cold—all the common discomforts of

walking in the rain—seemed to heighten the menace of his pursuer and to

give him a morbid consciousness of his own physicalness and of the ease

with which he could be hurt (34). He could see ahead of him the corner of

Madison Avenue, where the lights were brighter (35). He felt that if he

could get to Madison Avenue he would he all right (36). At the corner, there

was a bakery shop with two entrances, and he went in by the door on the

crosstown street, bought a coffee ring, like any other commuter, and went

out the Madison Avenue door (37). As he started down Madison Avenue, he

saw her waiting for him by a hut where newspapers were sold (38).

[4] She was not clever (39). She would be easy to shake (40). He could

get into a taxi by one door and leave by the other (41). He could speak to a

policeman (42). He could run—although he was afraid that if he did run, it

might precipitate the violence he now felt sure she had planned (43). He was

67

approaching a part of the city that he knew well and where the maze of

street-level and underground passages, elevator banks, and crowded lobbies

made it easy for a man to lose a pursuer (44). The thought of this, and a

whiff of sugary warmth from the coffee ring, cheered him (45). It was

absurd to imagine being harmed on a crowded street (46). She was foolish,

misled, lonely perhaps—that was all it could amount to (47). He was an

insignificant man, and there was no point in anyone‘s following him from

his office to the station (48). He knew no secrets of any consequence (49).

The reports in his briefcase had no bearing on war, peace, the dope traffic,

the hydrogen bomb, or any of the other international skulduggeries that he

associated with pursuers, men in trench coats, and wet sidewalks (50). Then

he saw ahead of him the door of a men‘s bar (51). Oh, it was so simple! (52)

[5] He ordered a Gibson and shouldered his way in between two other

men at the bar, so that if she should be watching from the window she

would lose sight of him (53). The place was crowded with commuters

putting down a drink before the ride home (54). They had brought in on

their clothes—on their shoes and umbrellas—the rancid smell of the wet

dusk outside, but Blake began to relax as soon as he tasted his Gibson and

looked around at the common, mostly not-young faces that surrounded him

and that were worried, if they were worried at all, about tax rates and who

would be put in charge of merchandising (55). He tried to remember her

name—Miss Dent, Miss Bent, Miss Lent—and he was surprised to find that

he could not remember it, although he was proud of the retentiveness and

reach of his memory and it had only been six months ago (56).

[6] Personnel had sent her up one afternoon—he was looking for a

secretary (57). He saw a dark woman—in her twenties, perhaps—who was

slender and shy (58). Her dress was simple, her figure was not much, one of

her stockings was crooked, but her voice was soft and he had been willing to

try her out (59). After she had been working for him a few days, she told

him that she had been in the hospital for eight months and that it had been

hard after this for her to find work, and she wanted to thank him for giving

68

her a chance (60). Her hair was dark, her eyes were dark; she left with him a

pleasant impression of darkness (61). As he got to know her better, he felt

that she was oversensitive and, as a consequence, lonely (62). Once, when

she was speaking to him of what she imagined his life to be—full of

friendships, money, and a large and loving family—he had thought he

recognized a peculiar feeling of deprivation (63). She seemed to imagine the

lives of the rest of the world to be more brilliant than they were (64). Once,

she had put a rose on his desk, and he had dropped it into the wastebasket

(65). ―I don‘t like roses,‖ he told her (66).

[7] She had been competent, punctual, and a good typist, and he had

found only one thing in her that he could object to—her handwriting (67).

He could not associate the crudeness of her handwriting with her appearance

(68). He would have expected her to write a rounded backhand, and in her

writing there were intermittent traces of this, mixed with clumsy printing

(69). Her writing gave him the feeling that she had been the victim of some

inner—some emotional—conflict that had in its violence broken the

continuity of the lines she was able to make on paper (70). When she had

been working for him three weeks—no longer—they stayed late one night

and he offered, after work, to buy her a drink (71). ―If you really want a

drink,‖ she said, ―I have some whiskey at my place (72).‖

[8] She lived in a room that seemed to him like a closet (73). There

were suit boxes and hatboxes piled in a corner, and although the room

seemed hardly big enough to hold the bed, the dresser, and the chair he sat

in, there was an upright piano against one wall, with a book of Beethoven

sonatas on the rack (74). She gave him a drink and said that she was going

to put on something more comfortable (75). He urged her to; that was, after

all, what he had come for (76). If he had had any qualms, they would have

been practical (77). Her diffidence, the feeling of deprivation in her point of

view, promised to protect him from any consequences (78). Most of the

many women he had known had been picked for their lack of self-esteem

(79).

69

[9] When he put on his clothes again, an hour or so later, she was

weeping (80). He felt too contented and warm and sleepy to worry much

about her tears (81). As he was dressing, he noticed on the dresser a note she

had written to a cleaning woman (82). The only light came from the

bathroom—the door was ajar—and in this half light the hideously scrawled

letters again seemed entirely wrong for her, and as if they must be the

handwriting of some other and very gross woman (83). The next day, he did

what he felt was the only sensible thing (84). When she was out for lunch,

he called personnel and asked them to fire her (85). Then he took the

afternoon off (86). A few days later, she came to the office, asking to see

him (87). He told the switchboard girl not to let her in (88). He had not seen

her again until this evening (89).

[10] Blake drank a second Gibson and saw by the clock that he had

missed the express (90). He would get the local— the five-forty-eight (91).

When he left the bar the sky was still light; it was still raining (92). He

looked carefully up and down the street and saw that the poor woman had

gone (93). Once or twice, he looked over his shoulder, walking to the

station, but he seemed to be safe (94). He was still not quite himself, he

realized, because he had left his coffee ring at the bar, and he was not a man

who forgot things (95). This lapse of memory pained him (96).

[11] He bought a paper (97). The local was only half full when he

boarded it, and he got a seat on the river side and took off his raincoat (98).

He was a slender man with brown hair—undistinguished in every way,

unless you could have divined in his pallor or his gray eyes his unpleasant

tastes (99). He dressed—like the rest of us—as if he admitted the existence

of sumptuary laws (100). His raincoat was the pale, buff color of a

mushroom (101). His hat was dark brown; so was his suit (102). Except for

the few bright threads in his necktie, there was a scrupulous lack of color in

his clothing that seemed protective (103).

[12] He looked around the car for neighbors (104). Mrs. Compton was

several seats in front of him, to the right (105). She smiled, but her smile

70

was fleeting (106). It died swiftly and horribly (107). Mr. Watkins was

directly in front of Blake (108). Mr. Watkins needed a haircut, and he had

broken the sumptuary laws; he was wearing a corduroy jacket (109). He and

Blake had quarrelled, so they did not speak (110).

[13] The swift death of Mrs. Compton‘s smile did not affect Blake at all

(111). The Comptons lived in the house next to the Blakes, and Mrs.

Compton had never understood the importance of minding her own business

(112). Louise Blake took her troubles to Mrs. Compton, Blake knew, and

instead of discouraging her crying jags, Mrs. Compton had come to imagine

herself a sort of confessor and had developed a lively curiosity about the

Blakes‘ intimate affairs (113). She had probably been given an account of

their most recent quarrel (114). Blake had come home one night,

overworked and tired, and had found that Louise had done nothing about

getting supper (115). He had gone into the kitchen, followed by Louise, and

he had pointed out to her that the date was the fifth (116). He had drawn a

circle around the date on the kitchen calendar (117). ―One week is the

twelfth,‖ he had said (118). ―Two weeks will be the nineteenth (119).‖ He

drew a circle around the nineteenth (120). ―I‘m not going to speak to you for

two weeks,‖ he had said (121). ―That will be the nineteenth (122).‖ She had

wept, she had protested, but it had been eight or ten years since she had been

able to touch him with her entreaties (123). Louise had got old (124). Now

the lines in her face were ineradicable, and when she clapped her glasses

onto her nose to read the evening paper she looked to him like an unpleasant

stranger (125). The physical charms that had been her only attraction were

gone (126). It had been nine years since Blake had built a bookshelf in the

doorway that connected their rooms and had fitted into the bookshelf

wooden doors that could be locked, since he did not want the children to see

his books (127). But their prolonged estrangement didn‘t seem remarkable

to Blake (128). He had quarrelled with his wife, but so did every other man

born of woman (129). It was human nature (130). In any place where you

71

can hear their voices—a hotel courtyard, an air shaft, a street on a summer

evening—you will hear harsh words (131).

[14] The hard feeling between Blake and Mr. Watkins also had to do

with Blake‘s family, but it was not as serious or as troublesome as what lay

behind Mrs. Compton‘s fleeting smile (132). The Watkinses rented (133).

Mr. Watkins broke the sumptuary laws day after day—he once went to the

eight-fourteen in a pair of sandals—and he made his living as a commercial

artist (133). Blake‘s oldest son—Charlie was fourteen—had made friends

with the Watkins boy (134). He had spent a lot of time in the sloppy rented

house where the Watkinses lived (135). The friendship had affected his

manners and his neatness (136). Then he had begun to take some meals with

the Watkinses, and to spend Saturday nights there (137). When he had

moved most of his possessions over to the Watkinses‘ and had begun to

spend more than half his nights there, Blake had been forced to act (138).

He had spoken not to Charlie but to Mr. Watkins, and had, of necessity, said

a number of things that must have sounded critical (139). Mr. Watkins‘ long

and dirty hair and his corduroy jacket reassured Blake that he had been in

the right (140).

[15] But Mrs. Compton‘s dying smile and Mr. Watkins‘ dirty hair did

not lessen the pleasure Blake took in settling himself in an uncomfortable

seat on the five-forty-eight deep underground (141). The coach was old and

smelled oddly like a bomb shelter in which whole families had spent the

night (142). The light that spread from the ceiling down onto their heads and

shoulders was dim (143). The filth on the window glass was streaked with

rain from some other journey, and clouds of rank pipe and cigarette smoke

had begun to rise from behind each newspaper, but it was a scene that meant

to Blake that he was on a safe path, and after his brush with danger he even

felt a little warmth toward Mrs. Compton and Mr. Watkins (144).

[16] The train travelled up from underground into the weak daylight,

and the slums and the city reminded Blake vaguely of the woman who had

followed him (145). To avoid speculation or remorse about her, he turned

72

his attention to the evening paper (146). Out of the corner of his eye he

could see the landscape (147). It was industrial and, at that hour, sad (148).

There were machine sheds and warehouses, and above these he saw a break

in the clouds—a piece of yellow light (149). ―Mr. Blake,‖ someone said

(150). He looked up (151). It was she (152). She was standing there holding

one hand on the back of the seat to steady herself in the swaying coach

(153). He remembered her name then—Miss Dent (154). ―Hello, Miss

Dent,‖ he said (155).

[17] ―Do you mind if I sit here? (156)‖

―I guess not (157).‖

―Thank you (158). It‘s very kind of you (159). I don‘t like to inconvenience

you like this (160). I don‘t want to. . . (161)‖ He had been frightened when

he looked up and saw her, but her timid voice rapidly reassured him (162).

He shifted his hams—that futile and reflexive gesture of hospitality—and

she sat down (163). She sighed (164). He smelled her wet clothing (165).

She wore a formless black hat with a cheap crest stitched onto it (166). Her

coat was thin cloth, he saw, and she wore gloves and carried a large

pocketbook (167).

―Are you living out in this direction now, Miss Dent? (168)‖

―No. (169).

[18] She opened her purse and reached for her handkerchief (170). She

had begun to cry (171). He turned his head to see if anyone in the car was

looking, but no one was (172). He had sat beside a thousand passengers on

the evening train (173). He had noticed their clothes, the holes in their

gloves; and if they fell asleep and mumbled he had wondered what their

worries were (174). He had classified almost all of them briefly before he

buried his nose in the paper (175). He had marked them as rich, poor,

brilliant or dull, neighbors or strangers, but no one of the thousands had ever

73

wept (176). When she opened her purse, he remembered her perfume (177).

It had clung to his skin the night he went to her place for a drink (178).

[19] ―I‘ve been very sick,‖ she said (179). ―This is the first time I‘ve been out of

bed in two weeks (180). I‘ve been terribly sick (181).‖

―I‘m sorry that you‘ve been sick, Miss Dent,‖ he said in a voice loud

enough to be heard by Mr. Watkins and Mrs. Compton (182).

―Where are you working now? (183)‖

―What? (184)‖

―Where are you working now? (185)‖

―Oh don‘t make me laugh,‖ she said softly (186).

―I don‘t understand (187).‖

―You poisoned their minds (188).‖

[20] He straightened his back and braced his shoulders (189). These

wrenching movements expressed a brief—and hopeless—longing to be in

some other place (190). She meant trouble (191). He took a breath (192).

He looked with deep feeling at the half-filled, half-lighted coach to affirm

his sense of actuality, of a world in which there was not very much bad

trouble after all (193). He was conscious of her heavy breathing and the

smell of her rain-soaked coat (194). The train stopped (195). A nun and a

man in overalls got off (196). When it started again, Blake put on his hat

and reached for his raincoat (197).

[21] ―Where are you going?‖ she said (198).

―I‘m going up to the next car (199).‖

―Oh, no,‖ she said (200). ―No, no, no (201).‖

74

She put her white face so close to his ear that he could feel her warm breath

on his cheek (202). ―Don‘t do that,‖ she whispered (203). ―Don‘t try and

escape me (204). I have a pistol and I‘ll have to kill you and I don‘t want to

(205). All I want to do is to talk with you (206). Don‘t move or I‘ll kill you

(207). Don‘t, don‘t, don‘t! (208)‖

[22] Blake sat back abruptly in his seat (209). If he had wanted to stand

and shout for help, he would not have been able to (210). His tongue had

swelled to twice its size, and when he tried to move it, it stuck horribly to

the roof of his mouth (211). His legs were limp (212). All he could think of

to do then was to wait for his heart to stop its hysterical beating, so that he

could judge the extent of his danger (213). She was sitting a little sidewise,

and in her pocketbook was the pistol, aimed at his belly (214).

[23] ―You understand me now, don‘t you?‖ she said (215). ―You understand that

I‘m serious? (216)‖ He tried to speak but he was still mute (217). He nodded

his head (218). ―Now we‘ll sit quietly for a little while,‖ she said (219). ―I

got so excited that my thoughts are all confused (220). We‘ll sit quietly for a

little while, until I can get my thoughts in order again (221).‖

[24] Help would come, Blake thought (222). It was only a question of

minutes (223). Someone, noticing the look on his face or her peculiar

posture, would stop and interfere, and it would all be over (224). All he had

to do was to wait until someone noticed his predicament (225). Out of the

window he saw the river and the sky (226). The rain clouds were rolling

down like a shutter, and while he watched, a streak of orange light on the

horizon became brilliant (227). Its brilliance spread— he could see it

move—across the waves until it raked the banks of the river with a dim

firelight (228). Then it was put out (229). Help would come in a minute, he

thought (230). Help would come before they stopped again; but the train

stopped, there were some comings and goings, and Blake still lived on, at

the mercy of the woman beside him (231). The possibility that help might

not come was one that he could not face (232). The possibility that his

75

predicament was not noticeable, that Mrs. Compton would guess that he was

taking a poor relation out to dinner at Shady Hill, was something he would

think about later (233). Then the saliva came back into his mouth and he

was able to speak (234).

[25] ―Miss Dent? (235)‖

―Yes (236).‖

―What do you want? (237)‖

―I want to talk with you (238).‖

―You can come to my office (239).‖

―Oh, no. I went there every day for two weeks (240).‖

―You could make an appointment (241).‖

―No,‖ she said (242). ―I think we can talk here (243). I wrote you a letter but

I‘ve been too sick to go out and mail it (244). I‘ve put down all my thoughts

(245). I like to travel (246). I like trains (247). One of my troubles has

always been that I could never afford to travel (248). I suppose you see this

scenery every night and don‘t notice it any more, but it‘s nice for someone

who‘s been in bed a long time (249). They say that He‘s not in the river and

the hills but I think He is (250). ‗Where shall wisdom be found,‘ it says

(251). ‗Where is the place of understanding (252)? The depth saith it is not

in me; the sea saith it is not with me (253). Destruction and death say we

have heard the force with our ears (254).‘

[26] ―Oh, I know what you‘re thinking,‖ she said (255). ―You‘re thinking that

I‘m crazy, and I have been very sick again but I‘m going to be better (256).

It‘s going to make me better to talk with you (257). I was in the hospital all

the time before I came to work for you but they never tried to cure me, they

only wanted to take away my self-respect (258). I haven‘t had any work

76

now for three months (259). Even if I did have to kill you, they wouldn‘t be

able to do anything to me except put me back in the hospital, so you see I‘m

not afraid (260). But let‘s sit quietly for a little while longer (261). I have to

be calm (262).‖

[27] The train continued its halting progress up the bank of the river,

and Blake tried to force himself to make some plans for escape, but the

immediate threat to his life made this difficult, and instead of planning

sensibly, he thought of the many ways in which he could have avoided her

in the first place (263). As soon as he had felt these regrets, he realized their

futility (264). It was like regretting his lack of suspicion when she first

mentioned her months in the hospital (265). It was like regretting his failure

to have been warned by her shyness, her diffidence, and the handwriting

that looked like the marks of a claw (266). There was no way now of

rectifying his mistakes, and he felt—for perhaps the first time in his mature

life—the full force of regret (267). Out of the window, he saw some men

fishing on the nearly dark river, and then a ramshackle boat club that

seemed to have been nailed together out of scraps of wood that had been

washed up on the shore (268).

[28] Mr. Watkins had fallen asleep (269). He was snoring (270). Mrs.

Compton read her paper (271). The train creaked, slowed, and halted

infirmly at another station (272). Blake could see the southbound platform,

where a few passengers were waiting to go into the city (273). There was a

workman with a lunch pail, a dressed-up woman, and a man with a suitcase

(274). They stood apart from one another (275). Some advertisements were

posted on the wall behind them (276). There was a picture of a couple

drinking a toast in wine, a picture of a Cat‘s Paw rubber heel, and a picture

of a Hawaiian dancer (278). Their cheerful intent seemed to go no farther

than the puddles of water on the platform and to expire there (279). The

platform and the people on it looked lonely (280). The train drew away from

the station into the scattered lights of a slum and then into the darkness of

the country and the river (281).

77

[29] ―I want you to read my letter before we get to Shady Hill,‖ she said (282).

―It‘s on the seat (283). Pick it up (284). I would have mailed it to you, but

I‘ve been too sick to go out (285). I haven‘t gone out for two weeks (286). I

haven‘t had any work for three months (287). I haven‘t spoken to anybody

but the landlady (288). Please read my letter (289).‖

[30] He picked up the letter from the seat where she had put it (290).

The cheap paper felt abhorrent and filthy to his fingers (291). It was folded

and refolded (292). ―Dear Husband,‖ she had written, in that crazy,

wandering hand, ―they say that human love leads us to divine love, but is

this true? I dream about you every night (293). I have such terrible desires

(294). I have always had a gift for dreams (295). I dreamed on Tuesday of a

volcano erupting with blood (296). When I was in the hospital they said

they wanted to cure me but they only wanted to take away my self-respect

(297). They only wanted me to dream about sewing and basketwork but I

protected my gift for dreams (298). I‘m clairvoyant (299). I can tell when

the telephone is going to ring (300). I‘ve never had a true friend in my

whole life. . . . (301)‖

[31] The train stopped again (302). There was another platform, another

picture of the couple drinking a toast, the rubber heel, and the Hawaiian

dancer (303). Suddenly she pressed her face close to Blake‘s again and

whispered in his ear (304). ―I know what you‘re thinking (305). I can see it

in your face (306). You‘re thinking you can get away from me in Shady

Hill, aren‘t you (307)? Oh, I‘ve been planning this for weeks (308). It‘s all

I‘ve had to think about (309). I won‘t harm you if you‘ll let me talk (310).

I‘ve been thinking about devils (311). I mean if there are devils in the world,

if there are people in the world who represent evil, is it our duty to

exterminate them (312)? I know that you always prey on weak people (313).

I can tell (314). Oh, sometimes I think that I ought to kill you (315).

Sometimes I think you‘re the only obstacle between me and my happiness

(316). Sometimes. . . (317)‖

78

[32] She touched Blake with the pistol (318). He felt the muzzle against

his belly (319). The bullet, at that distance, would make a small hole where

it entered, but it would rip out of his back a place as big as a soccer ball

(320). He remembered the unburied dead he had seen in the war (321). The

memory came in a rush: entrails, eyes, shattered bone, ordure, and other

filth (322).

[33] ―All I‘ve ever wanted in life is a little love,‖ she said (323). She lightened

the pressure of the gun (324). Mr. Watkins still slept (325). Mrs. Compton

was sitting calmly with her hands folded in her lap (326). The coach rocked

gently, and the coats and mushroom-colored raincoats that hung between the

windows swayed a little as the car moved (327). Blake‘s elbow was on the

window sill and his left shoe was on the guard above the steampipe (328).

The car smelled like some dismal classroom (329). The passengers seemed

asleep and apart, and Blake felt that he might never escape the smell of heat

and wet clothing and the dimness of the light (330). He tried to summon the

calculated self-deceptions with which he sometimes cheered himself, but he

was left without any energy for hope or self-deception (331). The conductor

put his head in the door and said ―Shady Hill, next, Shady Hill (332).‖

―Now,‖ she said (333). ―Now you get out ahead of me (334).‖

[34] Mr. Watkins waked suddenly, put on his coat and hat, and smiled

at Mrs. Compton, who was gathering her parcels to her in a series of

maternal gestures (335). They went to the door (336). Blake joined them,

but neither of them spoke to him or seemed to notice the woman at his back

(337). The conductor threw open the door, and Blake saw on the platform of

the next car a few other neighbors who had missed the express, waiting

patiently and tiredly in the wan light for their trip to end (338). He raised his

head to see through the open door the abandoned mansion outside of town, a

no-trespassing sign nailed to a tree, and then the oil tanks (339). The

concrete abutments of the bridge passed, so close to the open door that he

could have touched them (340). Then he saw the first of the lampposts on

79

the northbound platform, the sign ―SHADY HILL‖ in black and gold, and the

little lawn and flower bed kept up by the Improvement Association, and

then the cab stand and a corner of the old-fashioned depot (341). It was

raining again; it was pouring (342). He could hear the splash of water and

see the lights reflected in puddles and in the shining pavement, and the idle

sound of splashing and dripping formed in his mind a conception of shelter,

so light and strange that it seemed to belong to a time of his life that he

could not remember (343).

[35] He went down the steps with her at his back (344). A dozen or so

cars were waiting by the station with their motors running (345). A few

people got off from each of the other coaches; he recognized most of them,

but none of them offered to give him a ride (346). They walked separately

or in pairs—purposefully out of the rain to the shelter of the platform, where

the car horns called to them (347). It was time to go home, time for a drink,

time for love, time for supper, and he could see the lights on the hill—lights

by which children were being bathed, meat cooked, dishes washed—shining

in the rain (348). One by one, the cars picked up the heads of families, until

there were only four left (349). Two of the stranded passengers drove off in

the only taxi the village had (350). ―I‘m sorry, darling,‖ a woman said

tenderly to her husband when she drove up a few minutes later (351). ―All

our clocks are slow (352).‖ The last man looked at his watch, looked at the

rain, and then walked off into it, and Blake saw him go as if they had some

reason to say goodbye—not as we say goodbye to friends after a party but

as we say goodbye when we are faced with an inexorable and unwanted

parting of the spirit and the heart (353). The man‘s footsteps sounded as he

crossed the parking lot to the sidewalk, and then they were lost (354). In the

station, a telephone began to ring (355). The ringing was loud, plaintive,

evenly spaced, and unanswered (356). Someone wanted to know about the

next train to Albany, but Mr. Flannagan, the stationmaster, had gone home

an hour ago (357). He had turned on all his lights before he went away

(358). They burned in the empty waiting room (359). They burned, tin-

80

shaded, at intervals up and down the platform. and with the peculiar sadness

of dim and purposeless light (360). They lighted the Hawaiian dancer, the

couple drinking a toast, the rubber heel (361).

[36] ―I‘ve never been here before,‖ she said (362). ―I thought it would look

different (363). I didn‘t think it would look so shabby (364). Let‘s get out of

the light (365). Go over there (366).‖

His legs felt sore (367). All his strength was gone (368). ―Go on,‖ she said

(369).

[37] North of the station there was a freight house and a coalyard and an

inlet where the butcher and the baker and the man who ran the service

station moored the dinghies from which they fished on Sundays, sunk now

to the gunwales with the rain (370). As he walked toward the freight house,

he saw a movement on the ground and heard a scraping sound, and then he

saw a rat take its head out of a paper bag and regard him (371). The rat

seized the bag in its teeth and dragged it into a culvert (372).

[38] ―Stop,‖ she said (373). ―Turn around (374). Oh, I ought to feel sorry for you

(375). Look at your poor face (376). But you don‘t know what I‘ve been

through (377). I‘m afraid to go out in the daylight (378). I‘m afraid the blue

sky will fall down on me (379). I‘m like poor Chicken-Licken (380). I only

feel like myself when it begins to get dark (381). But still and all I‘m better

than you (382). I still have good dreams sometimes (383). I dream about

picnics and Heaven and the brotherhood of man, and about castles in the

moonlight and a river with willow trees all along the edge of it and foreign

cities, and after all I know more about love than you (384).‖

[39] He heard from off the dark river the drone of an outboard motor, a

sound that drew slowly behind it across the dark water such a burden of

clear, sweet memories of gone summers and gone pleasures that it made his

flesh crawl, and he thought of dark in the mountains and the children

singing (385). ―They never wanted to cure me,‖ she said (386). ―They. . .

(387)‖ The noise of a train coming down from the north drowned out her

81

voice, but she went on talking (388). The noise filled his ears, and the

windows where people ate, drank, slept, and read flew past (389). When the

train had passed beyond the bridge, the noise grew distant, and he heard her

screaming at him, ―Kneel down (390)! Kneel down (391)! Do what I say

(392). Kneel down (393)!‖

[40] He got to his knees (394). He bent his head (395). ―There,‖ she

said (396). ―You see, if you do what I say, I won‘t harm you, because I

really don‘t want to harm you, I want to help you, but when I see your face

it sometimes seems to me that I can‘t help you (397). Sometimes it seems to

me that if I were good and loving and sane—oh, much better than I am—

sometimes it seems to me that if I were all these things and young and

beautiful, too, and if I called to show you the right way, you wouldn‘t heed

me (398). Oh, I‘m better than you, I‘m better than you, and I shouldn‘t

waste my time or spoil my life like this (399). Put your face in the dirt

(400). Put your face in the dirt (401)! Do what I say (402). Put your face in

the dirt (403).‖

[41] He fell forward in the filth (404). The coal skinned his face (405).

He stretched out on the ground, weeping (406). ―Now I feel better,‖ she said

(407). ―Now I can wash my hands of you, I can wash my hands of all this,

because you see there is some kindness, some saneness in me that I can find

again and use (408). I can wash my hands (409).‖ Then he heard her

footsteps go away from him, over the rubble (410). He heard the clearer and

more distant sound they made on the hard surface of the platform (411). He

heard them diminish (412). He raised his head (413). He saw her climb the

stairs of the wooden footbridge and cross it and go down to the other

platform, where her figure in the dim light looked small, common, and

harmless (414). He raised himself out of the dust—warily at first, until he

saw by her attitude, her looks, that she had forgotten him; that she had

completed what she had wanted to do, and that he was safe (415). He got to

his feet and picked up his hat from the ground where it had fallen and

walked home (416).